Ahmed Essyad Moroccan Electroacoustic Music 1972-74 Vinyl LP 2025
1. TOUBKAL PART I (1972)
2. TOUBKAL PART II (1972)
3. LECTURE POUR BANDE MAGNÉTIQUE PART I (1974)
4. SULTANE PART I (1973)
5. SULTANE PART II (1973)
6. SULTANE PART III (1973)
7. SULTANE PART IV (1973)
8. LECTURE POUR BANDE MAGNÉTIQUE PART II (1974)
Composer 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. In 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 to 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 as various percussion instruments and a tape delay system.
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Ahmed Essyad Moroccan Electroacoustic Music 1972-74 Vinyl LP 2025
Ahmed Essyad Moroccan Electroacoustic Music 1972-74 Vinyl LP 2025
1. TOUBKAL PART I (1972)
2. TOUBKAL PART II (1972)
3. LECTURE POUR BANDE MAGNÉTIQUE PART I (1974)
4. SULTANE PART I (1973)
5. SULTANE PART II (1973)
6. SULTANE PART III (1973)
7. SULTANE PART IV (1973)
8. LECTURE POUR BANDE MAGNÉTIQUE PART II (1974)
Composer 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. In 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 to 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 as various percussion instruments and a tape delay system.
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Description
1. TOUBKAL PART I (1972)
2. TOUBKAL PART II (1972)
3. LECTURE POUR BANDE MAGNÉTIQUE PART I (1974)
4. SULTANE PART I (1973)
5. SULTANE PART II (1973)
6. SULTANE PART III (1973)
7. SULTANE PART IV (1973)
8. LECTURE POUR BANDE MAGNÉTIQUE PART II (1974)
Composer 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. In 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 to 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 as various percussion instruments and a tape delay system.
