AN OVERVIEW (AND HISTORY) OF ANAPHORIAN MUSIC
I. ANAPHORIAN MUSIC IN THE 21st CENTURY
Our concern is with preserving and speculating on the untapped resources of ancient and exiled 'musical' technologies. On this page we try to provide some idea of our activities but preserve and present the most worthy work via physical medium or live performances. While only one feature of the music, the tunings reflect an uncanny synchronistic relationship with scales formulated by Erv Wilson. We do in all respect attempt to highlight these for those few interested in such matters. Please enjoy.
Anaphorian Music has been branded by one of its head witch doctors and media experts as "organic" "earth-friendly" "eco-aware" and "environmentally responsible". Also, the compositions are "vintage" and "rare" works performed upon "handcrafted" instruments with "recycled and/or sustainable" materials "painstakingly built to exact tolerances" that are "individual artworks of beauty" in themselves.
Links to our Bandcamp page of Pre-Anaphorian work and the initial Anaphorian recordings are available as well as the ongoing ensemble work of Clocks and Clouds .
STILL AVAILABLE -
FIRST ARCHIVES OF ANAPHORIA CD IN 8 YEARS
AND A SPECIAL ONE
2 Vinyl Releases
ANAPHORIA: FOOTPATHS AND TRADE ROUTES
Available in the EU via INI.ITU LABEL
OUR RAINY SEASON/NUILAGI
The most recent CD release [including sound samples] available here
LANDSCAPES AND CONTOURS
for Meta-Slendro Pump Organ-live recording without electronic enhancement 2013-[25 minutes]
2006 - A composition exploring a state of continuous beginning as if a new world is formed around every corner - for Solo Meta-Slendro Vibraphone. Originally Issued as the first track on Anaphoria: Footpaths and Trade Routes LP (approaching sold out status).
Excerpt from BEYOND THE WINDOWS PERHAPS AMONG THE PODCORN
2005 - A composition designed for meditation for use by the composer. Excerpt of 55 minute composition with western instruments exploring the possibilities with a 6 note chord in Erv Wilson's Meta Meantone.
2008 - A comtemplation upon one of those minor skirmishes that fall upon the earth and quickly seem to disappear from the collective memory. Vocal parts recorded in Anechoic chamber in Meta Mavila Tuning
2005 - A 20 minute piece exploring the flows of vibrancy within these like instruments. For three Vibraphones in Meta-Slendro (warning-Level starts low but increases).
IL CORRAL 9-11
2004 - Solo hammer dulcimer piece performed live at Il Corral on 9-11-2004. Always the instrument that pulls out emotional strains regardless of the paths taken. The instrument is tuned to Meta-Mavila. Erv Wilson's tuning inspired by the Chopi tuning of the Mavila village coming out of joint investigations. Originally issued on corralComp05 on the halfnormal Label. Recorded [gratefully] by Bob Bellerue
THE STOLEN STARS (Final section)
A trio for 12 Bass Meru bars involving continually compressing rhytmic patterns in Meta-Slendro. Original CD edition of 1000 appeared on the Archive of Anaphoria Label
2000 - A piece written for Lou Harrison and Bill Colvig in Meta Slendro. Bassoonist is Sara Shoenbeck. Originally appeared on Sound 2 produced by Sassas.
2009 - midi-realization of a piece in progress using a meter of 108 in a variety of golden subdivisions
II. THE "NEWER STYLE" MUSIC - 20th Century Practices
Having developed their own tradition of alchemy,
found uncommon parallels in the works of Jacob Boehme (1575-1624),
formulations and treatises were translated into Anaphorian as early as
the 1930's and have continuing popular appeal to this day. Music plays
an important part in alchemy as it is traditionally practiced in
The most commonly played metric sequence is a 79 beat pattern
8-8-8-5-8-8-8-5-8-8-5), which just so happens to be, perhaps
perhaps not, the atomic number of gold. This "gendhing"
utilizes this basic 79-beat cycle with a nuclear theme limited to
tetrads (four notes for the four elements) intervened by counter-themes
relating to the octahedron (six notes formed as a result of combining
out of four elements). It must be said that the symbolism exists on too
many levels to be wholly coincidental.
A favorite ending piece at concerts
this particular composition has caused great consternation and misconceptions
among scholars, but it can only truly be explained away as a canonic
the inversion) passacaglia incorporating rhythmic and melodic ideas
the evening's performance. The description of it as a "recapitulation"
the mark; for Anaphorians it is a reminder of the ultimate source from
which all musical entities originate. It is as if we are hearing what
heard first, at the source, last.
III. THE "OLDER STYLE" MUSIC
OPENING BROADCAST IN CELEBRATION OF RADIO NABU CONGUL - BANAPHSHU
One of the most detailed records of the early mythology of Anaphoria 1/5/2010
The Anaphorian Creation Myth:
BANAPHSHU REMEMBERS HER FATHER
DRONE 861986 - Written in the 7-limit Centaur tuning
THE SURROUNDED ANGELbased on a 7-9-11-15 hexany (an uncentered 6 tone structure). Dedicated to Brian McLaren
THE FIFTH MESA1989 - This is the very first composition and instrument in which Meta-Mavila was realised in. The phasing effects heard on the reed organ at the time of release was assumed that of an electronic synth. It is in fact a totally acoustic recording.
MUSIC FROM THE LAKE ALOE FESTIVAL
In the month of Zio (late
an annual festival is held around Lake Aloe, Anaphoria's largest. It is
a time of great rejoicing. Among the rituals performed is one in which
the island leaders are seated in a mud pit amid a sprinkling of orchids
while endless songs of ridicule are sung at them. A given leader's
to this annual indignity is the Anaphorian's most reliable barometer of
a leader's potential for greatness. Leaders who have tried to suppress
this ritual were killed. (Although not strictly a part of the creations
myths, the origin of this one has been reliably dated to Neolithic
Note: The following pieces are not available due to certain taboo restrictions
THE TOTTERING OF THE SPINNING WHEEL
The First Frivolous battle (Village of Lipari)
The primal goddess Aunan, spinning on a celestial spinning wheel, created the cosmos as a great harmonious web, but three of her company of deities (Sant, Cerdo and Belili) became jealous of her abilities and conspired to steal and destroy her wheel. In the battle for the wheel, it was the cosmic spiders, Marpessa and Chapalu, who held the assailants at bay, though not without damage to the axis of the wheel, which ever after spun off-kilter.
It should be noted that two recent studies (LaCoste, 1977 and Mota, 1989) conclude this is a more recent version of an older myth and both see in it an explanation for the "Precession of the Equinoxes". Neither, however, explains just how Anaphorians might have perceived this shift, but both call for a re-evaluation of traditional scientific bias against astronomical knowledge in so-called prehistoric societies.
THE GHOSTS RETURN TO THE SQUARE
Second Frivolous Battle (Town of Derketo)
Marpessa and Chapalu later weave the earth and all its living creatures out of the dew (i.e. stars) that has collected in the web of Aunan. Meanwhile, Sant, Cerdo and Belili, determined to take revenge on Marpessa and Chapalu, were able to enlist aid from the Macha people. The Anaphorians were protesting the presence of the Macha in the square of the circular town of Derketo when the Macha attacked and either (a) "ruthlessly slaughtered" or (b) "magically scattered throughout all the world" all those present. Within a month, the Anaphorians left on the island regrouped and planned a counterattack, which at first appeared quite hopeless due to their relatively small number. However, on the very eve of their planned attack, "the Ghosts of Derketo" fell upon the square, so frightening the Macha people that they not only fled the town but returned to their own kingdom. This myth is often referred to in other Anaphorian legends in which heroes/heroines "return" from where they have been scattered. In other stories, it is their descendants who miraculously reappear in times of travail. Certainly, this is one of their primal myths, and undoubtedly it has shaped the attitude toward strangers that modern researchers find so bizarre. It is a widely held belief in Anaphoria to this day that Marpessa and Chapalu will continue to intervene in the lives of their "children" until they are all returned home. As a direct result of the Great Missionary Influx of the 18th century, the story received a popular revival that is now widely believed to be responsible for the Great Missionary Expulsion of 1823.
THE BIRD'S REINSTIGATION OF THE BATTLE OF TREES
Third Frivolous Battle (City of Ravenna)
In a time when the main body of the priesthood appeared on the verge of gaining complete political control for their own selfish ends, the following event is said to have taken place. During a religious ceremony in the provincial capital of Ravenna, a lone, talking bird entered the temple, reciting the Anaphorian alphabet, but in an apparently jumbled order. The people recognized this as a sign, especially after the priests panicked and attempted to kill the bird. After several attempts in which the bird repeatedly eluded and continued to heckle them, an elderly woman rose to her feet and announced that the "gibberish" the bird was spouting was, in fact, a very old and secret sequence of the Anaphorian alphabet that had once been common knowledge but had long ago been suppressed. Failing in their effort to rid the temple of the bird, the priests themselves abandoned the place. (It has since, of course, come to be the renowned Center for the Study of Alphabetical Sequencing, and people still make the pilgrimage to the Center from all over the island bearing clues to the riddle.) Since most of these new notions were counter to priestly dogma, the priests, still maintaining a strong, though tenuous, hold over the people, resisted. Thus occurred the Great Schism, which, sadly, continues to the present. And while the bird's alphabetical sequence is now widely, even commonly, accepted throughout the island, there remains to this day a hard-core group of alphabetical reactionaries (21% of the population) who refuse to use it at all.
OTHER RECORDINGS OF INTEREST FOUND AT THE CENTER FOR ALPHABETICAL SEQUENCING
REVIEWS AND DATA OF PREVIOUS PHYSICAL RELEASES