Pierre Chépélov (*1979) O qui perpetua mundum ratione gubernas (2012)

Eheu, quæ miseros tramite devios / abducit ignorantia! / non aurum in viridi quæritis arbore / nec vite gemmas carpitis, / non altis laqueos montibus abditis / ut pisce ditetis dapes / nec vobis capreas si libeat sequi / Tyrrhena captatis vada; / ipsos quin etiam fluctibus abditos / norunt recessus æquoris, / quæ gemmis niveis unda feracior / vel quæ rubentis purpuræ / nec non quæ tenero pisce vel asperis / præstent echinis litora. / sed quonam lateat quod cupiunt bonum / nescire cæci sustinent / et quod stelliferum transabiit polum / tellure demersi petunt. / Quid dignum stolidis mentibus imprecer? / opes honores ambiant, / et cum falsa gravi mole paraverint / tum vera cognoscant bona. //

O qui perpetua mundum ratione gubernas, / terrarum cælique sator, / qui tempus ab ævo / ire iubes stabilisque manens das cuncta moveri; / quem non externæ / pepulerunt fingere causæ / materiae fluitantis opus, verum insita summi / forma boni livore carens; tu cuncta superno / ducis ab exemplo,  pulchrum pulcherrimus ipse / mundum mente gerens, similique in imagine formans, / perfectasque iubens perfectum absolvere partes. / Tu numeris elementa ligas, ut frigora flammis, arida conveniant liquidis, ne purior ignis / evolet aut mersas deducant pondera terras. / Tu triplicis mediam naturæ cuncta moventem / conectens animam per consona membra resolvis. / quæ cum secta duos motum glomeravit in orbes, / in semet reditura meat mentemque profundam / circuit et simili convertit imagine cælum. / Tu causis animas paribus vitasque minores / provehis et levibus sublimes curribus aptans / in cælum terramque seris, quas lege benigna / ad te conversas reduci facis igne reverti. / Da, Pater, augustam menti conscendere sedem, / da fontem lustrare boni, da luce reperta / in te conspicuos animi defigere visus. / Dissice terrenæ nebulas et pondera molis, / atque tuo splendore mica; tu namque serenum, / tu requies tranquilla piis, te cernere finis, / principium, vector, dux, semita, terminus idem. // [Boethius. De Consolatione Philosophiae. III : M8, M9]

_ Music For A King, The Winchester Troper, 11th century. – Pierre Chépélov, Joel Rust, 21st century. Discantus, Brigitte Lesne. (2014, æon – AECD 1436 2014)

Proud of myself for this one ngl. I was expecting it to beat my ass but I managed to not miss a single one....98% is actually my best score so far out of all of these

Lynette: *plays Lyney theme*

86% success rate

Lynette:Looks like I’m rusty.

Lyney:You did great! Bravo!

Collei: *plays Nahida theme*

87% success rate

Collei:Was that good?

Nahida:Amazing!!!

Hu Tao:*plays Rex Incognito*

87% success rate

Hu Tao:*looks at Zhongli*

Zhongli:…Splendid. I’m sure Rex Lapis would be pleased.

Hu Tao:Yeah I’m sure you’d know.

Chongyun:*plays Hu Tao theme*

89% success rate

Hu Tao:Your crush on me is massive.

Chongyun: We. Are. Dating.

Hu Tao:Still…

Navia:*plays Neuvillette theme*

Starts drizzling, 85% success rate

Furina:Get yourself together!

Neuvillette:It’s the actual weather!

Chevreuse: *plays Wriothesley theme*

83% success rate

Wriothesley:Hey that’s pretty good.

Chevreuse: Your music is wild and all over the place but pretty cool I guess.

Aether:Guys I’ve never played this instrument before.

Furina:No excuses! Collei is new too and she did wonderfully. I promise not to laugh. My song is hard to manage after all, haha.

Aether:….*Inhales*

Pro Discantus 96% success rate

Everyone:….

Furina:*red* How many times have you heard that performance?

Aether:*red* That’s not important.

Thoughts on worldbuilding and setting, a compilation

Publishing a first novel, perhaps especially when it feels like the culmination of a long road, is certainly apocalyptic, in both senses: it reveals and it destroys, though the object of either verb remains indistinct. Something has been brought up from the depths. The water sluices away as it breaks the surface, but like in a dream, you cannot quite make out—it’s almost familiar, it’s on the tip of your tongue—but the shape is still murky, though you know what, now that you stare at it, it’s just like—and anyway, there is also the destruction, the sense that you know, though you cannot look around to see (in the dream you are quite unable to turn your head, it being not a pellucid dream but an illucid one, where of course you do know you are dreaming, are you not so very self-aware and politically au courant? But also, and this is important, that you are not) that all around you, not quite seen but known, are ruins. No apocalypse is merely personal, in that you are a cupful of seawater who takes the shape of your container, and its microplastics are yours. Are you in the water, or on a shore? Dreams are so maddeningly vague. These are not unbuilt worlds. Why, these are not worlds at all, only words, nothing but a pack of cards. 

From my essay, “Discantus/Desanctif.”

Sometimes I reread myself to just to remember what I've thought, especially the gnarlier bits.

This question of “worlds” is important to me, since I am naturally constantly accused of worldbuilding, though I follow the New Wave in opposing it as a practice and a belief system. This essay, “The Lone and Level Sands,” talks about Sanderson and Tolkien as worldbuilding's proponents, and the responses made by Moorcock and Harrison. From the essay:

Worldbuilding as a totalizing project cannot help but fail. My feeling is that “suspension of disbelief” and “secondary world” were not helpful ways to think about what is actually happening when we read a text, and yet they are tropes so influential and well-established that many of us take them as givens, as expectations of how we should read and what a fantastical text is supposedly doing.

For me this extends further into thinking not about worlds but about setting and place. In “The Traitor's Text” I wrote about empire, canon, orientalism, and authenticity variously trouble the ways we write about place.

I think a good rule of thumb to distinguish between (sometimes superficially similar) practices of working with setting is to ask: how much of it is on the page vs. off, and how much of what's off the page is the unconsidered inheritance of the undead empire? Beware, we were all born tainted with the pale magic.

"The Almighty Arataki Great and Glorious Drumalong Festival" Event: Take Part to Obtain Arataki's Great and Glorious Drum

During the event, go to the site of the Arataki Drumalong Festival and play music with a small drum given by Arataki Itto. Complete the challenge to obtain "Arataki's Great and Glorious Drum," Primogems, Weapon Ascension Materials, and other rewards.

〓Event Duration〓

2022/06/13 10:00:00 - 2022/07/04 03:59:59

〓Eligibility〓

1. Adventure Rank 30 or above

2. Complete the "Ritou Escape Plan" part of the Archon Quest: "Chapter II: Act I - The Immovable God and the Eternal Euthymia"

〓Event Details〓

● "The Almighty Arataki Great and Glorious Drumalong Festival" has a total of seven pieces. A new piece will be unlocked each day after the event begins.

● Each song will be split into Normal, Hard, and Pro difficulties. All three difficulties will be unlocked by default once the song is unlocked. Completing the challenge on a higher difficulty will unlock the rewards for all difficulties below it.

● As the tunes unlock, a Note Editor will also be unlocked. Travelers can freely edit the note positions in these tunes to create all-new musical scores.

● Travelers can publish the music scores that they have edited, which can be challenged by other travelers. However, Travelers need to reach Discantus when challenging their own music scores before publishing them.

※ Once "The Almighty Arataki Great and Glorious Drumalong Festival" event is over, all the music scores edited by Travelers will not be saved.

BABIEEEEEEEEESSSSSSS

They are just so adorable here I can't dnndndnnndmdmdmdmd HELP! me melt *drip drip*

The Almighty Arataki Great and Glorious Drumalong Festival

Of course this is the one and oni! Well... did You manage to get Discantus or Canorus in all of them? I am Euphonia/Dulcem at best ^w ^;> 3fingers is my max

🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸

Art by: @kanai23831347 on Twitter ❤

https://twitter.com/kanai23831347/status/1538211278589571073?t=cyyK3735ogQ60f7U9jpMyA&s=19

Meet Nex! One of the characters who lives in Discantus Discantus is a realm populated by only Nymphs and they live under the rule of the Auldine Family, however Nex grew up shielded from the rest of the country

If anyone has any questions about her please do ask!

//Grishaverse-inspired playlist//

+ Extraordinary is not in who we are but in what we do +

▶️PLAY

TRACKLIST:

Burn - 2WEI, Edda Hayes

Run For Your Life - K.Flay

O Death - Shakey Graves, Monica Martin

Dark Matter - Les Friction

Onward & Upward - Tommee Profitt, Fleurie

Undone - Tommee Profitt, Fleurie

Gloria Regali - Tommee Profitt, Fleurie

Fire - Saint Mesa

The Wolves - VOLK, Gregg Lehrman, Keeley Bumford

Sinners and Saints - Andrea Wasse

The Dawn Will Come - Rachel Hardy

Trøllabundin - Eivør

If I Had a Heart - Rachel Hardy

Enchanters - Patti Rudisill, Paula Bressman

Sztoj pa moru - Laboratorium Pieśni

Carkouka - Laboratorium Pieśni

I Shall Rise - Karen O

Danse macabre - Camille Saint-Saëns, Slovak Radio Symphony Orchestra

The Drunken Whaler - Copilot Music + Sound

Your World Will Fail - Les Friction

Who Will Save You Now - Les Friction

Become the Beast - Karliene

Dear God - Lawless, Sydney Wayser

Flesh and Bone - Black math

Murky - Saint Mesa

Nature Girl - Cryoshell

So Human of You - Shireen

You Can't Stop The Girl - Bebe Rexha

Me and Mine - The Brothers Bright

Crossing Over - Lawless, IO Echo

I Will Never Die - Delta Rae

Salt - Eivør

Holding Out for a Hero - Nothing But Thieves

Tuleloits - Kerli

Hymn of the Cherubim - USSR Ministry of Culture Chamber Choir

Shadow Moses - Choir Noir

O Rubor Sanguinis: Antienne - Hildegard von Bingen, Brigitte Lesne, Discantus

Salve Regina - Hermann Contractus, Anna Sandstrom, Christopher Monks

Vendetta - UNSECRET, Krigaré

I'm Not Afraid - Tommee Profitt, Wondra

Seraphin - Echos

I Am Fire - J2, Eivør

The Last of Her Kind - Peter Gundry

Hello Darkness - Theodore Bastard

Anonymous - Cum Vox Sanguinis: Hymne ·

Brigitte Lesne · Discantus ·

Joel Rust (*1989) Sunt etenim pennae volucres mihi. (2012) for three sopranos, three mezzo-sopranos

Sunt etenim pennae volucres mihi / quae celsa conscendant poli; / quas sibi cum velox mens induit / terras perosa despicit. / Aeris inmensi superat globum / nubesque postergum videt; / quique agili motu calet aetheris / transcendit ignis verticem, / donec in astriferas surgat domos / Phoeboque coniugat vias / aut comitetur gelidi Senis, / miles corusci sideris, / vel quocumque micans nox pingitur / recurrat astri circulum / atque ubi iam exhausti fuerit satis, / polum relinquat extimum / dorsaque velocis premat aetheris, / compos verendi luminis. / Hic regum sceptrum dominus tenet, / orbisque habenas temperat, / et volucrem currum stabilis regit, / rerum coruscus arbiter. / Huc te si reducem referat via / quam nunc requiris immemor: / «haec», dices, «memini, patria est mihi, / hinc ortus, hic sistam gradum». / Quodsi terrarum placeat tibi / noctem relictam visere, / quos miseri torvos populi timent / cernes tyrannos exsules. // [Boethius. De Consolatione Philosophiae, IV : M1]

Music For A King, The Winchester Troper, 11th century. – Pierre Chépélov, Joel Rust, 21st century. Discantus, Brigitte Lesne. (2014, æon – AECD 1436 2014)

my only flex in life is being able to get discantus first try in the pro level for all the songs of the itto event thus far

Performing Blossoms of Summer Night on pro while there's a thunderstorm behind and also while there are terrible lags bc my phone apparently can't handle both the game and screen recording I swear I'm normally on discantus

Got Dulcem on The One and Oni King difficulty on all the songs for the Genshin rhythm game mode

I don't know how but I just managed to stumble through

Also fricking love Wriothesley's theme and I got Discantus on Pro of that

Celesti Armonie, concerti gratuiti nella chiesa di S. Giovanni a Carbonara

L’associazione Discantus ci invita a partecipare a Celesti Armonie, il ciclo di concerti ad ingresso gratuito nella splendida chiesa di San Giovanni a Carbonara, il Pantheon degli Angioini. L’evento è finanziato dalla Regione Campania. I concerti, in occasione dei quarant’anni di attività dell’Associazione Discantus, è un’occasione straordinaria per far ammirare ed apprezzare la meravigliosa…

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Experimentik #70 / January 17. 2024 / Lucio Capece / Claudia Risch + Francis Heery + Jung-Jae Kim

January 17. 2024 / 20:30- (doors 20:00)

Solo:

Lucio Capece - 8 voices Sampler Isla 2400, recorded cello and bass clarinet, sine-sawtooth tones and pulses

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Trio:

Claudia Risch - bass clarinet

Francis Heery - electronics

Jung-Jae Kim - saxophone

FB event: https://fb.me/e/3Ywj3sQuL

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Lucio Capece

Argentinian musician based in Europe since 2002, specifically in Berlin since 2004. Since 2010 he dedicates to offer works focused in the Perception experience, that he performs mainly in solo and in the context of occasional collaborations based in the same interest. He composes his own pieces that may include improvisation and different ways of writing. He uses tools like Flying Speakers hanging from Helium Balloons moved by propellers, Speakers as Pendulums, Analog synthesiser, Sine Waves and Noise Generators, Drum Machines, Ultra- Violet Lights, Sensors as much as the instruments that he has played for 25 years: Bass Clarinet and Soprano and Slide Saxophone. Beyond instrumentation and tools, the main intention is to focus in the physical-social-spatial human experience. Between the late 90 ́s and 2010 he offered music in the context of Electro Acoustic Improvisation, focused in quietness, attentive listening and granular material. Capece has been very active in the Reductionist Improvised Music scene in Berlin, and in the radical minimal scene related with the collective Wandelweiser collaborating mainly as member of the collective Konzert Minimal (2008- 2018) and, since 2006 with Radu Malfatti. In a parallel way Capece developed a 10 years collaboration with legendary Finnish musician Mika Vainio from Pan Sonic, working and releasing radical abstract and beats oriented music as a duo and two different quartets. Capece has performed his own sound interventions in spaces like Kraftwerk Berlin ( The Long Now - Maerz Musik), Hau Berlin (CTM festival), The Cathedral of Bern (Zoom In Festival) The Mambo Museum in Bologna (Live Arts week ),the German Pavilion built by Mies Van der Rohe in Barcelona (Sonar +D Festival), the Halle d ‘Expositions built by Alexandre Gustave Eiffel in Evreux, France (ĹÁtelie series) the Bauhaus Archive in Berlin (directing a piece in which together with musicians Axel Dörner and Robin Hayward played a piece with the kinetic sculpture called “Licht-Raum Modulator” built by Lászlò Moholy-Nagy) , and the Colón Theatre in Buenos Aires where he offered an interactive installation for children. Since 2020 he plays mainly in the context of small Ensembles where he composes the music, or collaborates with others performers-composers like Rahma Quartet, From Scratch New Discantus Quintet, Lost Jockey and Phase to Phase. His goal in this context is to re consider Music making in a Phenomenological way, re- searching in the basic elements that make Music be. He offers currently a Sampler solo set based in a personal research in Just Intonation Ratios, folding and unfolding sounds from Pitch to Pulse and vice versa. He has performed as a musician in recognised experimental music festivals and venues in Europe, USA, Japan, Mexico and Argentina. He has released around 35 Cds and Lps, including 9 solo releases, in labels like Mego Editions, B-Boim (Austria), Pan (Germany), Ftarri (Japan) Another Timbre, Entr ́acte ( UK), Potlatch, (France), Erstwhile Intonema (Russia), etc.

photo © Susi Maresca

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Claudia Risch has developed special playing techniques on the Bassclarinet, which is acoustic of it´s nature and works without additive external resorces. She focusses on the extended sound-material of her instruments like micro-intervals, multi-phonics, sound of breath. Within this variety of elaborated technical possibilities Risch combines, applies and modifies her material to create a refined, nuanced and multilayerd sound. The co-operation with composers (e.g. Thomas Gerwin, Francis Heery), electronics and dancers is an important component in her work.

https://www.instagram.com/claudiarisch07/

photo © Matthias Förster

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Francis Heery (b.1980) is a composer and sound artist. His music is inspired by science-fiction, occultism and animal aesthetics. He is an accomplished improvisor and performs with a setup integrating Max/MSP with acoustic instruments and modular synths. He specializes in long-form, site-specific performances in public spaces. His instrumental works have been performed by the RTE Symphony Orchestra, the Crash Ensemble, the Quiet Music Ensemble, the Talujon Percussion Ensemble and by soloists including Carin Levine, Pascal Galois and Izumi Kimura. He has received funding awards from the Arts Council of Ireland as well as commissions from Galway County and City Councils, the Music Current Festival, the Berlin Natural History Museum, and the Berlin International Sound Art Festival. He produces experimental electronica under the name The Cube of Unknowing, with albums released on Fort Evil Fruit and Eiderdown Records.

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Jung-Jae Kim is a South Korean saxophonist, composer, and improviser based in Berlin free/avant-garde & experimental music scene. He pushes the boundaries of sonic aesthetics and sound definitions, taking a transdisciplinary approach to explore new possibilities and delve into human senses and communication through free improvisation.

photo © Morvarid K

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Experimentik 2024 is supported by inm

Un mottetto protestante

Johann Walter (1496 - 10 aprile 1570): Beati immaculati in via, mottetto a 7 voci (pubblicato in Torgauer Kirchweih-Motette, 1544). Favorit- und Capell-Chor Leipzig e Bläser-Collegium Leipzig, dir. Ekkehard Wagner. Il testo della parte vocale più acuta (discantus) e delle 4 parti di tenor è costituito da alcuni versetti (1-2, 5-6, 12, 35-37, 171 e 175) del Salmo 118. Il testo della parte di…

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