Iannis Xenakis - Bohor
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- čas přidán 21. 12. 2018
- The title Bohor is based on the subject of a medieval song cycle, "Bohor the Outcast," who was a valiant knight of the Round Table. Bohor is an 8-channel tape work and was Xenakis's first large-scale electroacoustic work, running approximately 23 minutes in length. The source materials for this work are a Laotian mouth organ known as the khen and various bracelets from Eastern countries, which Xenakis does not fully specify but are conceivably foot bracelets with small crotal bells attached. His technique of transforming and amplifying elements of very soft sounds in order to bring out their hidden structure is apparent throughout the work.
Sketches of Bohor reveal that Xenakis was quite concerned with the spatial orientation of the speakers as well. Indeed, Xenakis has said that the experience of Bohor should be like standing inside of a large bell. Xenakis traveled to Japan the previous year and was influenced by its traditional and sacred music. He has deliberately said little about Bohor so that "the imagination of the listener is left so free to choose a story or to image its own way or follow an itinerary."
I do NOT own the copyright for the music that I upload and will remove it immediately upon request from copyright holder or band. - Hudba
I read Garth Marenghi books while listening to this
Guaranteed nightmare, enjoy
Like Stockhausen, if you have not actually lived through war, you are unlikely to have a feeling for this. I haven't of course, but this helps me to imagine war, and so to begin to try to reconcile myself to our times.
Greek Gods communicating thought waves through time and space
MASTERPIECE. AMAZING SOUNDS!
To me, this is as riveting and bewitching as a piece of music can be. But undoubtedly only those people with sufficient depth of awareness and mental flexibility would be able to relate to it. Over the years (I first heard a different and somewhat less effective version of it in 1970), it has further grown on me, and is a seriously awe-inspiring experience. If only more people could let go of their preconceived notions of what music should be like, and would let themselves open to this incandescent wonder - an amazing achievement!
No cap. This music is hella based. I spin it every Halloween for the kiddos. Definitely need a mondo geeker tho, not for basic peeps. Like this is some shit Kanye would chop or sumthin.
👏
Nice comment, alot of people think in music within the boundaries of what they think should be music. Now listing to Steve Reich - Music for 18 Musicians. Great piece aswell (well in my opinion).
@@RubenEditIT, Thank you for your appreciation. Actually, I hope it wouldn't be seen to be too out of place to suggest that anyone who gets a positive experience from any of the more massive-sounding works of Xenakis try exploring my own massive-sounding Nature-Symphonies, which, like many of Xenakis' works, are stochastically organised, but with the difference that my creations are nature-generated., and mostly use wind chimes out in wild places, with transformative processing and much use of layering.
If you're interested, czcams.com/play/PL2QPtPIi_uE40eJXM2sDzMXu7h1h-tjev.html is a good starting point.
The screaming convergence at the end is terrifying.
Garth Marenghi brought me here.
Cool it Sanch, or you'll get a knuckle supper
Based Iannis
Based Iannis
I've been reading books about Xenakis, I have a mémoir to write about him, and I've been listening to many of his weird works, this one being one of the weirdest. I like!
Hello, I am interested in learning more about Iannis's pieces and their relationship with mathematics. Do you have pdfs that talk about the subject? Beforehand thank you very much. Greetings from Mexico.
@@MB-oo5tyxenakis wrote a book explaining his entire methodology and philosophy - entitled "formalized music" the pdf is quite easy to find on google, be warned though the book is very dense and extremely difficult to make sense of without an extremely deep understanding of both mathematics and music
At the Top Ten on the Avant-Garde Music Charts.
QUITE EXITING!!! I LOVE STRANGE SOUNDING PLACES.
A very profound, hypnotic and transcendental piece of music that has the power to transport one to timeless liminal spaces !!
Auténtico y como debe ser
Now that my black candles are lit, and i have a fire extinguisher on hand, i am ready for a nightmare inducing atmosphere
Banger track
And how, you may ask, did I learn of this? By way of a chance encounter with a reviewer's comment that this, or at least part of this, was an inspiration for a sound effect used in Star Trek: The Original Series. You be the judge.
I'm assuming this audio has been compressed in some fashion, my textbook characterizes it as going to absurd loudness in volume by its finale but it doesn't feel like it does.Kinda underwhelmed.
This is fontostique.
OO
Is this the inspiration for the Mars Volta's Frances the mute song/single opening?
Proof that the 'Frankfurt School' are full of it! Chaos is not an aesthetic.
Hi, I am interested in learning more about Iannis's pieces and their relationship with mathematics. Do you have pdfs that talk about the subject? Beforehand thank you very much. Greetings from Mexico.
I told my local used record store dealer to set aside any vintage electronic music for me. I had never heard of this before today when I brought it home. The vinyl is in pristine condition which is rare for a 50 year old LP. I'm absolutely certain that I am the first person to listen to this particular copy all the way through. And I only did it so I could brag about getting through it all. This straight up sucks and I don't know how this got a release. Save your ears and your time and go listen to something that isn't a bunch of random noise that sounds like ghosts dragging bags of silverware up and down a flight of stairs accompanied by a foghorn followed by a windstorm.
Dear Dan, the fact that you were able to picture so precisely ghosts dragging silverware up and down stairs while foghorn plays during a storm, proves that this great piece of music has served the purpose of its existence!
Xenakis was never about good or bad, beautiful or ugly - he was beyond that (as his wife has proudly admitted too). His music is emotion-provoking, even when the emotions he provokes are negative. This is life and Xenakis' music is made (about and) for life :)
sounds like you never listened to experimental music before or don't have an era for it, pleb
It's an exact acoustic description of the modern world. What's not to like.
you may have a point, I knew someone who studied under Xenakis- said he was "wild" in a scary disturbing way (I took it), but I've liked this piece for a long time- an imperceptible build up to a determined climax of mad intensity. You think this is difficult, try reading his book on composition, lots of algebra
I assume you picked up a copy of Iannis Xenakis' "Electro-Acoustic Music" (Nonesuch H-71246, 1970). Quotes from James Mansback Brody's liner notes may help one better appreciate 'Bohor I' (1962): (T)he piece demands total surrender if there is to be any contact at all with the music. It carries the idea of a single, evolving musical substance ... Xenakis described the music as "monistic with internal plurality, converging and contracting finally into the piercing angle of the end". A tremendous furor was aroused in Paris in October 1968 at a performance of *Bohor* during the "Xenakis Day" in the city's International Contemporary Music Week. By the end of the piece, some were affected by the high sound level to the point of screaming; others were standing and cheering. "Seventy per-cent of the people loved it and thirty per-cent hated it," estimated the composer from his own private survey following the performance ... The almost cosmic sound and dimensions of *Bohor* were derived from amazingly simple sources: various Oriental bracelets and other jewelry, and a Laotian mouth organ.
As with the much modern music composition (with numerous unfamiliar languages), perhaps one should consider Edgard Varèse's quote: “I do not write experimental music. My experimenting is done before I make the music. Afterwards, it is the listener who must experiment.” Still, it would be helpful if composers could easily enlighten their audience with the intentions of their compositions (provided the audience could adequately assess if they succeeded), but Xenakis also 'said little about *Bohor* so that "the imagination of the listener is left so free to choose a story or to image its own way or follow an itinerary."' One might get additional assistance (and context) from a reading of Tom Service's article 'A Guide to Iannis Xenakis's music', or The Drawing Center's Drawing Papers Volume 88 (titled "Iannis Xenakis: Architect, Composer, Visionary") featuring essays by Ivan Hewett, Carey Lovelace, Sharon Kanach, and Mâkhi Xenakis -- or Iannis Xenakis' 1963 book (with several later editions) "Formalized Music: Thought and Mathematics in Composition".
R U B B I S H M U S I C
@Evil robot Santa Claus My pleasure. Xenakis' music smells of rubbish, outdated "avant-garde" over 70 years old.
Music is subjective
But, do you like it?
Well PR A, what do you listen to then?
@@marinewelsh9927 Mozart.