MUSIC BY THE ISULA SOURCERER SISTERS
MUSIQUE, SACRÉ ET FÉMINITÉ
Mariage à 3 qui fit naître à s'entendre le sens de la beauté ? Ou au moins de ressentir sa part audible ? La féminité est ce que représente Éros ? La sensualité, des courbes ondulantes ? Le sacré est-ce la part de l'ombre intouchable par être enveloppée de mystère (= d'insu = la capacité de ne pas pouvoir savoir) ? Est-ce la zone respectée parce que : touché, le sacré disparaît ? Et la musique ? Se fait-elle résonner par mystère et raisonne par sensualité ? Pour sa célébration ? Le concert n'est pas un rituel, car contrairement au rituel, le concert se renouvelle (= change sa forme) en permanence, c'est ce que donne la pratique de l'art occidenté [= la sonorité de la musique du côté où le soleil se couche]. Et + qu'une célébration, la musique produit la nécessité directe de faire jaillir la jouissance de la réjouissance par découvrir par l'audible dans l'entente des choses et des faits jusqu'alors inconnues.
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Johanna Malcolm - There are a lot of things to ask you about this ‘generous original female’ music as it is called. Can you tell us about your process and your adventure in music creation? How authentic music is created today? And my 1st question is: how music can be stingy or penurious in contrary of being generous?
Terra Shadow-Sky - To be able to sound stingy music? It undoubtedly starts from closed mind, and consequently with poor imagination. A state of mind that forbid to explore unknown or unfamiliar sounding of music. If generally in our societies music creation sounds stingy, it is because there are too many appreciated fake public composers copying what was already created. Generous music is made by waves connected open mind musicians, between their deep inside understanding the meaning of vibrations. Everyone knowing that, all fake musicians would disappear from public stages. If these profound internal vibrations are perceived by authentic musicians, it is because they are understood. Musicians communicate with vibrations. Most of people forget that everything existing vibrate. Life exists because everything vibrate. All universe with everything vibrate. Every being exists because of vibrations. Vibrations are life, and music is an understanding of vibrations. Harmony means to understand each other vibrating, shaping chords = synchronicities. Music sounds right = joyful, when inside it suits. Like clothes? Advised (not necessarily experienced) musicians know this sensitive balance when the music suits or not. If a musician sounds stingy, it is not a musician.
Johanna - How did you compose the music: Les Sourcières Géantes de Isula?
Terra - With an intuitive and adaptive process of composition. As I said elsewhere, it is the contents who shape the container. The opposite (the container shaping the contents) are compositions exercises, not creation. When musicians come to me wishing to record together an album, it is important to extract the essential of the performing personalities mixing their different characters. So, 1st, there is a work of exploration, to find the behaviours to sound the music that will be performed. Then to tune us permanently, to balance our music behaviours: that start to make a 1st sense of the music. At that level my composition is a series of suggestions in the exchange process, starting to shape a newborn composition.
Johanna - I don’t understand, how music composition can adapt to the performers’ personality? A score is a score, a written composition is for anyone and no one in particular!
Terra - You express the ‘romantic image’ of how the composer is seen: a piano, a pen, and paper searching the melody that will content everyone. This process is not a composition, it is a combination of what the container imposes to compose. The piano, since the beginning of the 20th century, is not anymore the major instrument for original composers. Music composition changed radically since the 50s of the 20th century, starting even before in the 20s. The classical music notation is not adapted to our present context. Or the classical music notation is since a long time: obsolete for original compositions. Since the 20th century, the major instrument of the composer is a recording studio, with many different musical instruments inside.
Terra - It became important in our mechanical (‘world of order’) environment that the composer considers who is performing the music. A talented musician gives something more to sound than a regular musician trained to reproduce exactly the quantified symbols from a classical score. We know that classical music theory is a grid of a container that allows only to compose what it is allowed, and only with quantities: measured pitch and rhythm mostly. It is why, it is so easy, to sound written classical music with computers. We knew that quantified classical approach would bring music to be computerized. Logical, as a calculator, all computers operate with quantities. If a computer can replace an orchestra, it is because the classical score drives musicians to play quantities, and in this case, the computer is much more precise than a human performance.
Terra - Knowing that, I was and I am still not interested to sound quantities. Or music (its reason) has nothing to do with quantities, or only as an accessory, to access ‘something’ in its composition. Music more than any science sounds knowledge of the unknown. Music is not a language because there is nothing to signify. The quantify classical music theory approach of music is a simplification; compared to what gives the nature to music. The 5 lines stave for example was conceived to welcome one mode only, from one scale only. The ‘alterations’ (by altering the pitch of the major only mode) can give (altered only) other modes, but not other scales, only with the multiplication of alterations that makes the score unreadable! Even meaningless and useless. Seeing the magnitude of the classical music theory inefficiency for 100 years, it should be replaced, its monopoly ideology not its knowledge. In 20th and 21st centuries, authentic composers do not compose music with the classical music theory and notation. Original composers compose with their invented and extended music theory.
Lisa Ochram - There are in fact lot of questions to ask you about this music created by the Isula Sourcerer Sisters. I don't understand why Johanna did not understand that: most of great musicians are musicians with something else more that most of composers, since the birth of this occupation, work with a particularly pleasure! Working music creation with these personalities (having a musical strong presence and who make hear music at the summit of their art) generates amazing music! Most of written music are over all dedicated to exceptional musicians.
Johanna - And for the others?
Lisa - They are the matter of publishers who publishes to sell music manual and scores as much as possible. Today, in the 21st century, most of original composers are not any more published by a publisher. So there is no need to think that written music is written for anonymous amateurs like pupils and students! Public education is an industry where most of publishers do their profits, with music manuals and 'educational' scores. Public music education has been always falsified (sacrificed?) to this industry (that import them to make profits). Music knowledge has nothing to do with public education. It is why it is so important and necessary and even essential to keep to protect and to offer for free this knowledge that you Shadow-Sky as composer you feed and develop. And, we can..., and we do understand the importance of your work published at centrebombe.org website. A will that should be imitated everywhere. OK. That was an important point to say!
Terra - ... :)
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SPATIAL MONO?
How to distinguish in a same location, different instruments?
Or monophony is it a perfect space
to merge different instruments in one same sound?
G. Massenburg - How come that this album does not have an 8 channel trajectorized music like your other musical works?
M. Shadow-Sky - To trajectorize sounds from acoustic instruments, the performer has to be in a different room (far away?) to avoid feedback, to be able to hear and feel clearly, the sound trajectories in three-dimensional space (4-dimensions with time) of an acoustic musical instrument. In my one room spatial recording studio, I started to isolate Elisa with her contrabass clarinet in another room (bathroom), but she felt more comfortable performing and sound together in a same room, more than being separated. Music exists to vibrate together. Of course, I could afterwards trajectorized each instrument of the music (electric guitar, contrabass clarinet, synthi EMS, harmonium, and the voice) after the recording, but what is interesting with this recording, is: ‘how to create and feel space in a monophonic recording?’ The spatial work in this album is to enable listening to the spatial depth within one direction, and one dimension. In this unidirectional space, or one-point-space, the farthest is the acoustic of a huge architecture, then the acoustic of a room, with the 5 musical instruments inside: Elisa’s contrabass clarinet, my electric guitar, my voice, my analogue synthesizer, and a made-up harmonium. Sometime an instrument crosses layers of spatial depth, giving the perception of a vast space within a monophonic recording (not quite, because I am using phase opposition or sounds polarization on 2 channels).
G. Massenburg - Is this monophonic spatial music something new?
M. Shadow-Sky - Not at all. As you know, sound engineers, as yourself, use these mixing techniques ever since they could control echo: from short phases, to long reverberations. To play with the sensation of proximity and distance, knowing it is an acoustic illusion: you mix 3 sources at the same time: 1. The direct sound, 2. The reverberated sound, and 3. The same volume for both. In a live concert situations, one may play by moving between 2 microphones: one with direct sound, the other with the same sound reverberated.
HOW TO PERFORM IN RHYTHM, THE SOUND SENSATION OF DISTANCE AND CLOSENESS?
The dance of the musician varies the sensation of spatial depth, by mixing live: intimate closeness with far away perceived sounds (until their absence), playing the distance with acoustic instruments: the distance source/microphones in this square field recording:
We perceive better spatial depth with omnidirectional microphones than unidirectional ones. But, in live situations, a static omnidirectional microphone can generate nasty feedback that a dynamic unidirectional microphone avoids. There is always a compromise to be found according to context since each one is always specific. Through their control, the feedback (which are sine waves) can be a part of the music. And. The microphone field can be extended to the entire stage, and more, by multiplying the number of microphones. And there is more to extend monophony to multiphony: each microphone can be connected through a mixing console matrix to a loudspeaker. Connections that can be changed by the sound engineer musician able to perform in rhythm the music with the speakers set up (= topophony). This device gives a particularly efficient 3D trajectories of sounds that I personally enjoy. First tested in 1980 with the 1st trajectorized music game called Ludus Musicae Temporarium with articulated lamps with springs as musical instruments. This microphonic sound space system device along with the trajectorisation technique with a matrix of VCAs [Voltage Controlled Amplitude] was used for the 1st spatial instrumental music: Ourdission created in 1982 and premiered in London in 1983 with 14 loudspeakers.
GET THE ALBUM
GENERAL INFO ABOUT THIS RECORD
THE ISULA SOURCERER SISTERS
Something Happens in the Universe
with Les Sourcières Géantes de IsulaMusic heard and per formed from the inverted waved mountains of Orzothop
with contrabass clarinet, nonoctave polyscalar electric guitar, synthi EMS VCS3, harmonium, and voice.Does everybody knows that the Sourcerer Sisters vibrate the waves of the Universe as well as its echoes?
So, it is understood that the generation of this music:
Tracks:
1. 30:34 in total darkness of light, the 1st vibration of life appears
2. 10:26 at the birth of the stars its 1sts turbulent shocks happen
3. 08:24 at Borealis dusk, its 1sts jokes resonate
4. 08:15 at the zenith fullest light the 1sts crowds of stellar matter warm the darkness
5. 18:00 at dawn, coming out of nowhere, even with Eve’s presence, the 5th manifestation of waves of vibrations appear from nothingness
The sourcerer sisters reveal all this, which means:
Something really happens in the Universe, and this: 5 times all at once.
The Isula sourcerer sisters are:
ÉLISA TROCMÉ per forming contrabass clarinet.
MISS TERRA SHADOW-SKY per forming nonoctave polyscalar electric guitar, synthi EMS VCS3, singing with her deep throat technique playing the harmonium, composing and mixing the entire music.Recorded at the same time by Miss Terra Shadow-Sky in 13 sessions from November 2024 to January 2025
Mixed & also mastered by Miss Terra Shadow-Sky in February 2025 at the centrebombe spatial music studio
Published on the Internet by Le disque du centrebombe in March 2025 under its catalogue number ObCD-88
2025 Miss-Terra-Shadow-Sky-Unexpected-Waves-Production, We can say
The pixel-paintings, the thoughts and the stories are created by Miss Terra Shadow-Sky in February 2025
The texts to be more understandable was corrected by Elisa Trocmé in March 2025.
The 3 original mentioned paintings were created by Arthur Beatty in 2002, the Élisa Trocmé’s male half, who died in 2004.The 5 audio stereo flac files are called (which are not the titles) of the entire 1:15:38.940 music work in the pack-folder:
1 - The Isula Sourcerer Sisters - in total darkness of lightness, Something Happens in the Universe.flac
2 - The Isula Sourcerer Sisters - at the Stars’ Birth, Something Happens in the Universe.flac
3 - The Isula Sourcerer Sisters - at Borealis dusk, Something Happens in the Universe.flac
4 - The Isula Sourcerer Sisters - at full light zenith, Something Happens in the Universe.flac
5 - The Isula Sourcerer Sisters - at dawn coming from nowhere, Something Happens in the Universe.flacThere is 4 levels of information in titles:
1. When,
2. What where,
3. What exactly, and
4. What really.4 levels of information form the true names of each movement of the entire music:
1_ Something happens in the Universe, the 1st continuous waves of vibrations, in total darkness from brightness, life appars echoing the 1st breath of the Universe.
2_ At the birth of the stars, something happens in the Universe, at the 2d waves of vibrations: the 1st turbulent shocks of the Universe.
3_ Something happens in the Universe, at Borealis dusk, the 3rd waves of vibrations of jokes ripple from the cosmic ocean, echoing the shape of the Universe.
4_ At the zenith full light, something happens in the Universe, the 4th continuous waves of vibrations crowd up to warm up, the echoing cold Universe.
5_ Something happens in the Universe, at dawn, even with Eve & Venus’ presence, coming out from nowhere, the 5th waves of vibrations enlighten the Universe from nothingness.
MORE?
THE BOOK OF ISULA SOURCERER SISTERS:
Edition bilingual/bilingue French/English publishing
- De quoi ça parle ?
- Ça parle de la création musicale des Sourcières d'Isula : ce que la féminité a à s'entendre dans la musique sacrée.
- Avec toutes les contradictions que l'ignorance génère et entretient en se protégeant (du savoir) par la conviction certaine de savoir.
- On met tout ça en lumière, mais ce n'est pas assez !
- Le livre est volontairement inachevé.
- Mélanger : philosophie, conte fantastique, dialogues théâtraux, humour et jeux de mots poétiqués, est une manière ou un style qui ne facilite pas la compréhension, ou est-ce une manière de s'en jouer ?
- Hum hum.
- À chaque relecture, on détecte des fautes de sens, d’orthographes, de tournures obscures qui demandent à s’éclaircir, de formules incompréhensibles à la relecture qui demandent à être expliquées, on relève un style cru aboyé alors qu’il se veut câlin, etc.
- Il faut approfondir sans fin dans la continuité ces textes reliés d’idées à l’apparence disparate.
- Mais ne préfère-t-on pas donner aux autres à y venir pour le développer ?
- C’est l’avantage des œuvres inachevées : les autres s’en mêlent.
- À jouer la musique des idées et des mots, ça génère des connexions infinies de sens.
- C’est la raison de l’écriture philosophique, qui par lier l'inliable, dévoile les raisons dissimulées qu’on cherche à comprendre du Grand Merdier de l’Humanité.
- La forme, condensée [par volonté d’essentialité] en dialogues poétiqués en conte fantastique, détend-elle l’accès pour une compréhension + aisée ? Qui par le plaisir de sa perception inciterait à son développement ?
- À chacun à chacune de nous le dire.
- Nous avons publié le texte du livret aussi au format .txt UTF-8 qui est inclus dans l'album : Les sourcières géantes d'Isula (2025), pour que celles et ceux qui veulent s’impliquer dans l’affaire de son développement et de ses échanges l’accèdent avec facilité.
- La compositrice Terra Shadow-Sky est contactable là: friends@centrebombe.org
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