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{"id":8728870093050,"title":"Ahmed Essyad \/\/ Moroccan Electroacoustic Music 1972-74 LP","handle":"ahmed-essyad-moroccan-electroacoustic-music-1972-74-lp","description":"\u003cp\u003eモロッコの実験音楽家Ahmed Essyadが、2025年2月にベルギーの実験レーベルSub Rosaからリリースしたレコードです。\u003c\/p\u003e\n\u003cp\u003e1972-1974年に制作したエレクトロアコースティク8曲を収録。\u003c\/p\u003e\n\u003cp\u003e以下、レーベルによる解説です。\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"Toubkal（1972年）\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eAhmed Essyadの民族音楽学への関心は、ラバト音楽院での修業時代にさかのぼる。1958年、マリーヴォンヌ・ソヴァージュ、ウアヒド・エル・オマリとともに、ポピュラー音楽と伝統音楽の収集キャンペーンに参加。その後の作曲活動では、ジェスチャー、声楽技法、音色、楽器演奏の研究を進めるために、この経験をたびたび活用した。\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSultane (1973)\u003c\/em\u003e\u003cbr\u003e\u003cem\u003e『Sultane』は、大地と土地に対する考察の結実である。インスピレーションは\u003c\/em\u003e\u003cbr\u003e\u003cem\u003e第1楽章は、1950年代にタザで録音された戦争歌にインスパイアされている。\u003c\/em\u003e\u003cbr\u003e\u003cem\u003e祝祭的である。5つの楽章は、濃密なリズムの部分と、ゆったりとしたパッセージがはっきりと交互に現れる、\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eリズミカルな部分と、電子的に歪められた声が現れる緩やかな部分とがはっきりと交互に現れる。声のひとつはAhmed Essyad自身のものである。\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eLecture pour bande magnétique（1974年）\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eこの曲の2つのパートは、2つの異なる詩に基づいている、\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eライナー・マリア・リルケの詩と、ボナ・ド・マンディアルグの詩に基づいている。\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eこの作品は、音楽行為における身体の基本的な役割を讃えるものである。\u003c\/em\u003e\u003cbr\u003e\u003cem\u003e声は身体であり、呼吸はすべての音楽的フレージングの起源なのだ。\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=292134590\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/track=470054041\/transparent=true\/\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=292134590\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eレーベルその他作品は\u003ca style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\" href=\"https:\/\/tobirarecords.com\/collections\/subro\"\u003eこちら\u003c\/a\u003e \/\/\/ Click \u003ca style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\" href=\"https:\/\/tobirarecords.com\/collections\/subro\"\u003ehere\u003c\/a\u003e to see more Sub Rosa Label releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e-----------------------------------------\u003c\/p\u003e\n\u003cp\u003e12\" black vinyl.\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e1. Toubkal (1972) part I 06:26\u003cbr\u003e2. Toubkal (1972) part II 05:18\u003cbr\u003e3. Lecture pour bande magnétique (1974) part I 05:36\u003cbr\u003e4. Sultane (1973) part I 02:25\u003cbr\u003e5. Sultane (1973) part II 03:58\u003cbr\u003e6. Sultane (1973) part III 02:25\u003cbr\u003e7. Sultane (1973) part IV 04:54\u003cbr\u003e8. Lecture pour bande magnétique (1974) part II 04:42\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eSub Rosa:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eComposer Ahmed Essyad was born in Salé, Morocco, in 1938. After studying music at the Rabat Conservatoire (Morocco) he moved to Paris in 1962, where he became a student of Max Deutsch and, later, his assistant. Trained in the avant-garde practices of Western musical composition, he also claimed the Amazigh folk music of Morocco as a fundamental source of inspiration for his work.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eIn 1965, he was already incorporating elements of oral tradition in his work so as to question the language of his time, and therefore had to cope with the limits of musical notation and communication with musicians who did not share his cultural references. It was difficult\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eto agree on what was implicit, 'behind the notes,' especially regarding the management of musical time and micro-intervals. In search of new compositional tools, he turned to electro-acoustic music. Working in a studio made it possible for him to be the interpreter of his own work, which ensured a certain continuity with music of oral tradition. The pieces presented here were produced between 1972 and 1974 in a studio dedicated to electro-acoustic music, the S.M.E.C.A, which was part of the Music Workshop founded by Jorge Arriagada in Paris. The studio was equipped with EMS and Minimoog synthesizers, a piano, a marimba, a xylophone, as well\u003cspan class=\"bcTruncateMore\"\u003e as various percussion instruments and a tape delay system.\u003cbr\u003e\u003cbr\u003eThe practice of electro-acoustics may have been a mere parenthesis in Ahmed Essyad's long and prolific career as a composer of contemporary music, but the works presented here are nonetheless important. They show how strongly he both supported North African popular forms of expression and opposed its folklorizing through simplistic and 'exotic' representations. It's not about fusing together East and West - impossible, he says: \"the real point is to open up an imaginary space where another modernity can exist outside the largely Eurocentric framework of avant-garde music. Synthesis means anticipation, knowledge. As for me, I'm increasingly ignorant. I write to discover what I don't know. Music feeds me, it pollinates me. It's my daily wine.\"\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e\u003cem\u003e \u003c\/em\u003e\"\u003ca\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Ahmed Essyad\u003c\/p\u003e\n\u003cp\u003eLabel : Sub Rosa Label \u003c\/p\u003e\n\u003cp\u003eCAT No : \u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eSR572V\u003c\/span\u003e\u003c\/p\u003e","published_at":"2025-02-22T19:42:20+09:00","created_at":"2025-02-22T15:15:36+09:00","vendor":"Tobira Records","type":"","tags":["contemporary \/ sound poetry","drone","lp","monooto","new","sub rosa"],"price":382800,"price_min":382800,"price_max":382800,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":47145009676538,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Ahmed Essyad \/\/ Moroccan Electroacoustic Music 1972-74 LP","public_title":null,"options":["Default Title"],"price":382800,"weight":430,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/files\/mo1_79fda7b6-bd18-4038-a0c8-1eb486a05c5c.jpg?v=1740204849","\/\/tobirarecords.com\/cdn\/shop\/files\/mo2_fdc4ce74-d630-47a1-bbfd-f01eaf98e14a.jpg?v=1740204849","\/\/tobirarecords.com\/cdn\/shop\/files\/mo3_d6594d87-2595-4c1c-816c-f49c24c8fdc6.jpg?v=1740204848"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/files\/mo1_79fda7b6-bd18-4038-a0c8-1eb486a05c5c.jpg?v=1740204849","options":["Title"],"media":[{"alt":null,"id":35609737396474,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/mo1_79fda7b6-bd18-4038-a0c8-1eb486a05c5c.jpg?v=1740204849"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/mo1_79fda7b6-bd18-4038-a0c8-1eb486a05c5c.jpg?v=1740204849","width":700},{"alt":null,"id":35609737462010,"position":2,"preview_image":{"aspect_ratio":1.003,"height":1197,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/mo2_fdc4ce74-d630-47a1-bbfd-f01eaf98e14a.jpg?v=1740204849"},"aspect_ratio":1.003,"height":1197,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/mo2_fdc4ce74-d630-47a1-bbfd-f01eaf98e14a.jpg?v=1740204849","width":1200},{"alt":null,"id":35609737494778,"position":3,"preview_image":{"aspect_ratio":1.079,"height":1112,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/mo3_d6594d87-2595-4c1c-816c-f49c24c8fdc6.jpg?v=1740204848"},"aspect_ratio":1.079,"height":1112,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/mo3_d6594d87-2595-4c1c-816c-f49c24c8fdc6.jpg?v=1740204848","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eモロッコの実験音楽家Ahmed Essyadが、2025年2月にベルギーの実験レーベルSub Rosaからリリースしたレコードです。\u003c\/p\u003e\n\u003cp\u003e1972-1974年に制作したエレクトロアコースティク8曲を収録。\u003c\/p\u003e\n\u003cp\u003e以下、レーベルによる解説です。\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"Toubkal（1972年）\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eAhmed Essyadの民族音楽学への関心は、ラバト音楽院での修業時代にさかのぼる。1958年、マリーヴォンヌ・ソヴァージュ、ウアヒド・エル・オマリとともに、ポピュラー音楽と伝統音楽の収集キャンペーンに参加。その後の作曲活動では、ジェスチャー、声楽技法、音色、楽器演奏の研究を進めるために、この経験をたびたび活用した。\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSultane (1973)\u003c\/em\u003e\u003cbr\u003e\u003cem\u003e『Sultane』は、大地と土地に対する考察の結実である。インスピレーションは\u003c\/em\u003e\u003cbr\u003e\u003cem\u003e第1楽章は、1950年代にタザで録音された戦争歌にインスパイアされている。\u003c\/em\u003e\u003cbr\u003e\u003cem\u003e祝祭的である。5つの楽章は、濃密なリズムの部分と、ゆったりとしたパッセージがはっきりと交互に現れる、\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eリズミカルな部分と、電子的に歪められた声が現れる緩やかな部分とがはっきりと交互に現れる。声のひとつはAhmed Essyad自身のものである。\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eLecture pour bande magnétique（1974年）\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eこの曲の2つのパートは、2つの異なる詩に基づいている、\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eライナー・マリア・リルケの詩と、ボナ・ド・マンディアルグの詩に基づいている。\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eこの作品は、音楽行為における身体の基本的な役割を讃えるものである。\u003c\/em\u003e\u003cbr\u003e\u003cem\u003e声は身体であり、呼吸はすべての音楽的フレージングの起源なのだ。\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=292134590\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/track=470054041\/transparent=true\/\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=292134590\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eレーベルその他作品は\u003ca style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\" href=\"https:\/\/tobirarecords.com\/collections\/subro\"\u003eこちら\u003c\/a\u003e \/\/\/ Click \u003ca style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\" href=\"https:\/\/tobirarecords.com\/collections\/subro\"\u003ehere\u003c\/a\u003e to see more Sub Rosa Label releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e-----------------------------------------\u003c\/p\u003e\n\u003cp\u003e12\" black vinyl.\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e1. Toubkal (1972) part I 06:26\u003cbr\u003e2. Toubkal (1972) part II 05:18\u003cbr\u003e3. Lecture pour bande magnétique (1974) part I 05:36\u003cbr\u003e4. Sultane (1973) part I 02:25\u003cbr\u003e5. Sultane (1973) part II 03:58\u003cbr\u003e6. Sultane (1973) part III 02:25\u003cbr\u003e7. Sultane (1973) part IV 04:54\u003cbr\u003e8. Lecture pour bande magnétique (1974) part II 04:42\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eSub Rosa:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eComposer Ahmed Essyad was born in Salé, Morocco, in 1938. After studying music at the Rabat Conservatoire (Morocco) he moved to Paris in 1962, where he became a student of Max Deutsch and, later, his assistant. Trained in the avant-garde practices of Western musical composition, he also claimed the Amazigh folk music of Morocco as a fundamental source of inspiration for his work.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eIn 1965, he was already incorporating elements of oral tradition in his work so as to question the language of his time, and therefore had to cope with the limits of musical notation and communication with musicians who did not share his cultural references. It was difficult\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eto agree on what was implicit, 'behind the notes,' especially regarding the management of musical time and micro-intervals. In search of new compositional tools, he turned to electro-acoustic music. Working in a studio made it possible for him to be the interpreter of his own work, which ensured a certain continuity with music of oral tradition. The pieces presented here were produced between 1972 and 1974 in a studio dedicated to electro-acoustic music, the S.M.E.C.A, which was part of the Music Workshop founded by Jorge Arriagada in Paris. The studio was equipped with EMS and Minimoog synthesizers, a piano, a marimba, a xylophone, as well\u003cspan class=\"bcTruncateMore\"\u003e as various percussion instruments and a tape delay system.\u003cbr\u003e\u003cbr\u003eThe practice of electro-acoustics may have been a mere parenthesis in Ahmed Essyad's long and prolific career as a composer of contemporary music, but the works presented here are nonetheless important. They show how strongly he both supported North African popular forms of expression and opposed its folklorizing through simplistic and 'exotic' representations. It's not about fusing together East and West - impossible, he says: \"the real point is to open up an imaginary space where another modernity can exist outside the largely Eurocentric framework of avant-garde music. Synthesis means anticipation, knowledge. As for me, I'm increasingly ignorant. I write to discover what I don't know. Music feeds me, it pollinates me. It's my daily wine.\"\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e\u003cem\u003e \u003c\/em\u003e\"\u003ca\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Ahmed Essyad\u003c\/p\u003e\n\u003cp\u003eLabel : Sub Rosa Label \u003c\/p\u003e\n\u003cp\u003eCAT No : \u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eSR572V\u003c\/span\u003e\u003c\/p\u003e"}
