Jocy De Oliveira - Raga Na Amazonia - Import LP Record

Credits:

Jocy De Oliveira

Description:

This is a shock! Josie de Oliveira, a Brazilian avant-garde musician who performed with Stravinsky, Messiaen, John Cage, Xenakis, and others, has released a compilation of his electro-acoustic recordings from 1987-93! All songs are on record for the first time! The songs are from two of his works, one of which, "Fata Morgana" (1987), is an electro-acoustic opera that tells a mythological story about the sacredness of women, a theme that is also relevant to the cosmology of modern physics, and the other, "Inori - to the sacred prostitute" (1987), is an electro-acoustic opera that tells a story about the sacredness of women, a mythological story that is also relevant to the cosmology of modern physics. to the sacred prostitute" (1993) is an exposition of "patriarchal" values with references to the diversity of languages, cultures, races, new years, and religions. Inori - to the sacred prostitute" (1993) is the fruit of Josie's unique worldview as a composer/interpreter as well as a multimedia artist and storyteller who is influenced by every avant-garde art, culture, and language of the 20th century. Side-A, "Oniric," is from "Fata Morgana," and is a real-time integration of the voice and electronic sounds, featuring Josie's Yamaha TX and DX7 synths throughout. The entire piece features the YamahaTX and DX7 synthesizers played by Josie, who had immersed herself from piano to synthesizer after health problems. The following "O Contar de Uma Raga" and "Raga na Amazônia" from "Inori - to the sacred prostitute" are included on Side-B, and the last track, "O Contar de Uma Raga" from "Inori - to the sacred prostitute" is also included on Side-B. The last track, "Solaris," also from "Inori," is a mixture of oriental thought and futurism. Paulo Beto, the curator of this work, states that the focus of this work is "to experiment and challenge the limits that lie between composition and improvisation, between composition and improvisation, between music that establishes itself and its indeterminate elements.In his book "Dialogue with letters," Josie says, "Stockhausen's 'Mantra for two pianos' is the most fascinating of his works to me, sounding like an improvisation, yet having a certain strictly determined quality." He also says that the work is "a kind of rigorously determined nature. The ragas on this album are her work from this perspective. Also, regarding experimental music, "John Cage said in the aforementioned book that the term experiment should not describe an action in terms of a future judgment regarding its success or failure, but should be applied to an action whose outcome is unknown," she says. I don't consider music as a career. It is my destiny. I express myself through music. It is my voice, my cry, my groan. At first, the album was to be released under the title "Extratos Oníricos," but on Josie's advice, the title was changed to "Raga na Amazônia" (Raga of the Amazons).The title is a contemporary warning about environmental issues, including the Amazon, as the company presented a number of concerts and events focused on environmental issues in the 1970s and 1980s.

Tracklisting:

A1.Onirico
A2.O Contar de Uma Raga
B1.Raga na Amazonia
B2.Solaris