#matepate

[mwana-wevhu]

my sekuru and bamukuru playing the matepe

[444names]

hindu and egyptian deities BUT excluding "h"

Acyujapar Acyutu Adimenet Adimenupa Adjet Adrangala Adrangi Adrappa Adratri Amakti Ambis Ameer Amini Ammaf Ammati Amnenna Amukeyan Analalatr Anara Anatri Andaran Andet Andevna Andrasaat Andraya Angal Angan Angera Anirri Anpet Antani Antara Antet Anvasva Anyali Apangi Apaspara Apedema Aperenal Aperet Apetwerya Apparau Appari Apurya Aradatri Arakserty Arakset Arandi Arandraji Aranyamut Aravi Arayyar Ardradjet Areneit Arenta Arika Arjumani Arjumina Arkanna Armatri Arnarvan Arundraja Arunep Arvatgeb Asais Asiamuket Asiani Asivari Asoma Asomava Aspanta Aspati Asvani Asvat Aswarna Aswati Ayamaf Ayamarabi Ayamut Ayani Ayanuta Ayaparuga Ayata Ayatika Ayavaya Ayinnara Ayutu Ayyamboda Ayyanda Baalakali Baali Babikamma Bagalan Balal Balarutu Balas Balati Balinna Balis Balkirri Bandobal Baper Bappaka Bappanva Bapri Bapurga Basis Basles Basvar Baswam Baswawet Baswini Batret Batri Benperan Brani Brati Bratika Briata Britjet Budra Budratri Budravi Bukamala Buket Bukyamanu Datep Datmet Dedet Dedevna Detenuts Detta Detuma Devarti Devastabi Devis Deviti Drayyapis Dunarjum Dundu Durtepwat Durti Durunu Gayutus Gerunumi Gupta Guptawy Iambodi Iandra Iatmet Iatritr Imenef Inilala Iramanyut Irandrani Iritjet Irrtalli Irrti Isirri Isirrti Jagadi Jagallana Janyu Jaupardra Junepwati Jyotet Jyoti Kalita Kaman Kammanyu Kanda Kantari Karayini Kasat Kasva Kaupta Kertu Kerya Keyamat Kunari Kunarmala Lakamani Lalarana Lalarja Lamavis Lambikani Lambitrat Lamji Lamna Lamuran Larma Laruta Lasvarun Madrati Madurast Makau Maksenet Malama Malindra Malla Manaradi Manda Mandni Mandrat Mangalaji Mangan Manganiis Mangi Manila Manirati Manta Mantawy Manut Manya Maraet Marati Marika Matep Mavis Meerani Meeswara Meneneneg Menes Meramaati Merti Metsenu Minga Minirri Minji Miyanu Mnanat Mnarati Mnati Monsu Monti Mooka Mookasta Moorty Mooruda Moorugala Mukan Mukar Mukyaka Munandaka Munati Munda Mundak Munepri Munum Munutus Mutawer Nanyanu Naraets Narakanga Narama Narani Narket Narvan Natri Nebdjets Nebeesava Nebukala Nefnu Negeb Neitri Nenatrevi Neneenum Neneiti Nepepra Nepra Neprianut Nesati Nesavat Neswawy Neswinji Nevidevis Nilanti Nooka Nookali Nookati Nookau Noorti Nooruda Nutejaga Nutep Osimun Osiri Padranyu Paravi Pastarati Peferevis Pefnuket Pepra Perty Perugra Pravi Praya Prayinia Prikau Priti Ptami Ptaragan Ptari Puradi Purga Putarjum Radra Ragali Ramallama Raminda Raniati Ratret Ravan Ravati Ravis Rayya Renta Retta Reyata Rugras Saika Saikama Saiker Saiket Saira Samnatu Sarugrani Satra Satuts Savani Savis Seger Segerenep Seket Seketu Seneit Senti Seravitya Seswadi Seswini Setejajau Setep Siani Siati Siradit Siras Skama Skaman Sobaati Sobagan Sobal Somati Sopdevati Sopduru Subra Suravat Surga Surtet Suruni Suryandni Svanu Svarati Svari Svatradi Swara Swarti Swawy Tabis Tadit Tamari Tarambis Tarevis Tenamji Tepefnum Tepra Tesmenet Tetetet Tumana Tvanyan Tvasvai Tvatri Uganti Ugrammani Umala Umanga Umati Urgalam Vaikun Vamma Vanatrit Vanga Vangerti Varalki Varkertu Varman Varya Vasar Vatri Vattari Vayan Vayavaris Vayyanda Veenenata Veesati Venaramun Venka Venkas Venumal Vitar Vitawy Vitra Vitri Vitria Vivana Vivati Waket Wepri Weran Werasetet Werenefnu Weret Wertum Werty Wosirrti Wosivanat Yakar Yalla Yamaka Yamalli Yaman Yambikuna Yamboda Yamer Yanet Yania Yaperta Yapet Yappadiya Yavasles Yayan Yella Yellama Yellin Yujant

[theballadoffinchesandsaints]

The TBDATE fandom figuring out what happened to Rufus

there’s nothing quite like reading a book and being like AHA I SEE WHAT YOU DID THERE, and feeling immensely clever when it’s just…….plot

[himmelstudies]

New study with me video!

[ssab-oicram]

¿Qué es el arte? Lo que vos quieras... Puede ser un trozo de tela adornado, puede ser un cuerpo teñido de mil colores, puede ser ese poema que alguien te dedicó... Para mí, todo es arte, vos, mate mío, sos arte 💚 . . . #arte #siempreunmate #yerbamate #mateargentino #yerba #matefan #art #love #unemojiparaelmate #cordoba #argentina #matepic https://www.instagram.com/p/B4nVmlZgOXi/?igshid=9ioiwi5dowq

[seoyapcamben]

Hiç yazasım yok ama yazıyorum niye mi yazmam gerek çünkü ! Herkes birşeyler yapmak zorunda kalıyor bu hayatta kimi çöpten ekmek toplamak kimi yerinden olmak beninkide yazmak. Biliyorum şuan diyosun ne alaka amk kapat git yat saat 1 zaten kim zorluyo deli misin ? Ama işin aslı gerekiyo niyesini belki sonra açıklarım sana ama bir şekilde yazmam gerekiyor. Niye mi adım Kozel Bira Şişesi ? Güzel soru çünkü şişeside kendiside çok hoş bir biradır Kozel ayrıca Kozel şişesine oturtmak istediklerim var. Oturtacak başka birşey mi yokki var ama Kozel şişesi gibi değil Kozel şişesi bir anda löpçük diye girer. Bence bunu yeterince anlattım konumuza geçelim ben ne yazıyorum ? Şuan için tek özelliği yazı olmak olan bir yazı ve Dünya'nın en boş yazısı çünkü yazı olması yeterli benim için. Yazı olayı önemli yazı hayattır en azından benim hayatıma birşeyler katıcak. Neyse ya mutfağa gidip bişeyler alıp geliyom çay bitti bakim kola mola yemekte yiyesim var annem kuzu etli kuru fasulye ve tereyağlı pilav yapmıs ama kilo alabilirim malum evden çıkmıyorum. Şu kelepçede bir türlü gelmedi ha geldi ha gelcek derken gelmiyo diyip çıkıcam en son şak diye gelcek göt gibi kalcam sonra yallah Matepe Kapalı Ceza İnfa Kurumu ama canım sigara istiyo gidip bi sigara alıcam birazdan muhtemelen bir süre boyunca sonkez dışarı çıkıcam tadını alıyim özliyicem. Üff dur şu müziği değişiyim. Bisküvi yedim negro bold bence negro oreodan kat kat güzel bu arada. Haaa unutmadan babamın paketinden 2 dal sigara aldım dışarı çıkmıyom. Ev iyidir ya ev güzel. Bisküvi daha yiyesim var ama hem kilo yapar hemde kardesim yesin. Kola sigara müzik tumblr fena bi gece sayılmaz şu yazı bitsin foruma girer takılırım sonra oyun oynarım sonra başka bişeyler vs işte neyse ben kaçtım iyi geceler.

[mrsimongoodlife-blog]

Sommer in München.... wuhu #mate #matepate #buddytime #nice #jacobey #simongoodlife #cool #derherrderaugenringe #picoftheday #photooftheday #munich #musik #studiopause #genughashtags (hier: Bordeauxplatz)

[hbsides]

What to do? 19KW13

a large musical & visual choice.

wanna simply get this as an email? send us some thoughts? >>

hbsidescontact [at] gmail [•] com

on Fri. 29.3.

- italo disco legacy / tau / 7pm film + dj-set from aron at the end

- pony & hide / lift / 9pm kein motto, trotzdem pony - they say

- finest friday / pbar (B) / 11:55pm tama sumo & lakuti inviting the mighty carista and the detroit wonder marcellus pittman w/ exclusive performance from kalypso bang!

damn.

———————————-

on Sat. 30.3.

- boombastic / studio illegale / 2pm hip hop store in the store session

- radio angrezi / hfk / 7pm iz back.

http://radioangrezi.de/

- die chinesische wäscherei / friese / 9pm the zonke family + don��t DJ

awesome line-up!

- italo disco legacy / tau / 10pm party w/ the anderswo crew.

- clara’s lie / schlachthof / 10:30pm soliparty

http://caillera.net/

- Ta3alom! / spedi / 11pm "kommt mal vorbei” says the La6izi crew with a colorful blend of local musical actors.

———————————-

on Wed. 3.4.

- favourites film festival / cine ostertor / 8pm https://www.favouritesfilmfestival.de/

—S—T—R—E—A—M—

The Zonke Family - Matepe Music in Zimbabwe https://www.youtube.com/watch?v=uMBCLW5iQw4

Don’t DJ - Southeast Subterrane https://soundcloud.com/dont-dj-1/dont-dj-southeast-subterrane

[tinypsychicpeachfan]

Check out this listing I just added to my Poshmark closet: Anthropologie Yellow dress Silka lace open back.

[deepartnature]

Matepe & Karimba.

“Matepe Music. ... I use this label as a kind of general idea. I've borrowed the words from that article, from his book, from your vid and I go with it, wondering what exactly it is that I reference. At first I mean those mbira instruments with the flattened bell-shaped, cavernous resonators, the right hand octaves that hocket with in-house overtones, saturated with deep and low and growling fundamentals. I mean the conversation between the rattle player's patterns and the improvising mbira, the clipped exclamations of hup! hup! hup! that cut into soaring singing lines and virtuosic yodeling, the gentle clamor of muted fingerpads on the jenje drum, the cupped hand claps, the ecstatic whistles and the dancer's foot stomps. ...”

Yelloweaver (Audio/Video), Yelloweaver: Karimba part 2 (Video)

Layout of a Karimba (left) and Matepe (right) that are tuned together. Karimba made by Jacob Mafuleni and matepe made by Chaka Chawasarira.

[mwana-wevhu]

matepe

[chemongescollin]

SAYET Official video by Arap Koko Matep

[ayaayasn25]

Seperti angin yang berhembus, terasa tapi mudah menghilang namun tetap kekal untuk dirasakan. Seperti itulah perasaan aku, saat kamu melakukan kesalahan tapi aku mudah memaafkan, namun masih terasa terfikir apa kesalahan yang pernah kau perbuat. si Mawar yang selalu menjadi mimpi buruk bagi ku, tapi ku coba untuk berlapang dada untuk sekarang ini, aku hanya bisa mendo'akan kau dengan mawar semoga bisa bersatu. baik lah, kurasa aku harus melakukan teknik relaksasi nafas dalam untuk melonggarkan pikiran ku tentang si mawar. Hmmm.. Setelah permasalahan mawar selesai dan kau kembali berjanji untuk tidak menghubungi mawar kembali, enatah apa yang membuat ku mudah memaafkan mu, mungkin karna cintaku sudah telalu dalam untuk mu. selepas itu kita kembali merajut kasih untuk menjadi pasangan yang lebih baik lagi, pada tahun pertama aku ingat sekali saat awal kamu mengunjungi rumah ku, kamu bilang "nanti juga aku kerumah kamu dengan cara apapun". Dan itu terbukti, saat masuk tahun pertama aku ingat kita ingin pergi berlibur ke satu tempat wisata bersama sahabat-sahabat ku, mereka sudah jalan terlebih dahulu, sedangkan kita terpisah dengan mereka, namun tujan yang sama, pas di pertengahan jalan kendaraan yang kita gunakan terjadi accident nabrak pembatas jalan haha matep banget yaa, haha, gak ada yang parah banget si cuma terkilir sama lecet aja dengkul, wkwkwk.. Duuhh emang ya kamu kalau gak bikin sesuatu yang berkesan tuh gak afdol haha, dan akhirnya kita putar haluan, yang tadinya niat jalan-jalan ehhh jadi kerumah aku, ketemu orang tua aku, disitulah aku memperkenalkan kamu sebagai pasangan ku, ya ini lah omongan kamu yang di Aminkan oleh semesta, haha. Kerumah aku dengan tangan terkilir wkwkwk. Sore pun tiba, kamu beranjak untuk pulang dan pertama kalinya kamu pamit dengan orang tua ku, kamuu pun pulang, Aku cuma senyum-senyum sendiri pas kamu pulang, karna gak habis fikir aja ketemu sama orang tua aku dengan cara yang beda. haha, Selalu punya cerita dengan kamu.

[musicandphilosophy]

AMS 2019

Mysticism

Chair, Delia Casadei (University of California, Berkeley)


Edwin Li (Harvard University), “Mysticism as Philosophical (Non-)Foundation: Reconstructing a Daoist Critique of Confucian Discourse of Music in Early China”

Karen Leistra-Jones (Franklin and Marshall College), “Summoning Beethoven: Spiritualism and the Act of Performance”

Martin Scherzinger (New York University), “Music’s Xenogenesis (The African Mbira)”

Codee Ann Spinner (University of Pittsburgh), “Spiritualist Hymnals and Parlor Songs for the Dead”

Phil Ford (Indiana University), “Diviner’s Time”

Abstracts:

Presenter 1: Edwin Li (Harvard University), “Mysticism as Philosophical (Non-) Foundation: Reconstructing a Daoist Critique of Confucian Discourse of Music in Early China”

Confucian discourse of music in early China has been unambiguously characterized as that which is bound up with the construction of the hierarchy of sound (sheng), tone (yin), and music/joy (yue/le). This unanimous voice can be attributed to the “Book of Music” (Yueji), which has, at its outset, provides readers with a clear definition of the three sonic categories. The Daoist critique of the Confucian musical discourse, however, has engendered incompatible interpretations. Scholars have characterized Daoist musical thought as “nihilistic,” (Yang Yinliu) the opposition of “all kinds of man-made music” (Cai Zhongde), and recently, a questioning of “how to eventually reach musical Dao” (Park So Jeong). In this paper, I attempt to reconstruct a Daoist critique of the Confucian discourse of music, which centers on a philosophical foundation these scholars have neglected: mysticism (xuan). Drawing on Laozi’s Daodejing and the Zhuangzi (especially on the under-appreciated chapters), I argue that mysticism is the form and formlessness of Dao (a state of mind in which one does not assert, and forgets oneself), a philosophical foundation for music when it is not—a philosophical (non)foundation. Laozi expresses this by claiming that the Dao cannot be named, and is the shape that has no shape. In other words, to “reach musical Dao” is not to declare reaching musical Dao. Mysticism thus grounds “music” in groundlessness. I conclude by relating Daoist mysticism to the present, arguing that such an ontological blackhole invites an empathetic understanding of musical experiences beyond humans.

Presenter 2: Karen Leistra-Jones (Franklin and Marshall College), “Summoning Beethoven: Spiritualism and the Act of Performance”

In 1893, a “consecration ceremony” celebrated the opening of a museum in Beethoven’s birth house. The ceremony occurred in the room of Beethoven’s birth and included a performance of the Cavatina from the String Quartet op. 130 by the Joseph Joachim Quartet, playing on instruments once owned by the composer. As numerous contemporary accounts noted, the quasi-religious function of this event and its proximity to Beethovenian relics combined with spoken texts before and after the Cavatina and aspects of the performance itself to create a séance-like experience: the Kölnische Zeitung reported that the audience “believed… that through the eloquent tones [of the Cavatina] his transfigured spirit appeared to proclaim itself in the present.”

The notion of performance as communion with a dead composer is a familiar trope in music criticism. Yet its particular foregrounding in these sources invites a consideration of such rhetoric as more than mere metaphor. In Germany in the 1890s there was widespread interest in mysticism and the occult, including spiritualist séances. While these movements are often described as a counter-cultural reaction to modernity’s rationalizing tendencies, recent scholarship has emphasized their interrelationship with contemporaneous developments in science and philosophy and the serious consideration they were given within establishment circles. Mystical claims such as those surrounding this ceremony often implied that music’s vibrational disruptions of matter were what allowed a spiritual dimension to make contact with the phenomenal world; ultimately, they suggest a view of performance that merged Romantic metaphysics with seemingly incompatible materialist concepts.

Presenter 3: Martin Scherzinger (New York University), “Music’s Xenogenesis (The African Mbira)”

Forward Kwenda, an acclaimed mbira player from Zimbabwe claims that the power of the mbira’s sound transports performers and listeners out of the commonplace, into a realm “much greater than a human being can understand” (Kwenda 1997). For the traditionalist Tute Chigamba, the religious and introspective attitude demanded by mbira music renders it unsuitable as an instrument of mere entertainment (personal communication, 1999). Echoing this sentiment, Hakurotwi Mude asserts, “The mbira dza vadzimu is not played for pleasure” (Mude, in Berliner, 1991, 134). Far from providing sensuous experiences alone, mbira music, especially for the traditionalists, is central to the spiritual cosmology of the Shona. It mystically “speaks back” to performers (Chigamba, 1999). Andrew Tracey reports that the idea that one mbira sounds like more than itself is still more pronounced with other lamellaphone-types, like matepe, njari, and nyonganyonga (personal communication). Matepe players actually boast of it. The perplexing ability of the music to elicit audile condundra, issue forth asynchronous sounds, materialize phantom melodies and rhythms, and recoup similitude in contexts of metamorphosis facilitates listening experiences that grow beyond the dimensions of the tactile performance alone, touching instead upon something unguessed-at. These are the ventriloquizing musical lines emerging as if of unknown origin. This is a music of xenogenesis, explicitly designed to invoke the powers of ancestral spirits in contexts of social crisis and upheaval. Set adrift of the generalized project of disenchantment in music studies, this paper aims to re-enchant the material force of xenogenetic sound in the mbira scenario.

Presenter 4: Codee Ann Spinner (University of Pittsburgh), “Spiritualist Hymnals and Parlor Songs for the Dead”

Like their Christian neighbors, Spiritualists in North America have frequently incorporated hymnals into their worship and rituals. Spiritualist hymns often share language, imagery, and entire hymns and texts with mainstream Protestant denominations. I argue that despite these similarities, hymns and singing take on new significance in Spiritualist practice. Analyzing the melodies and texts of Spiritualist hymns, specifically The Spiritual Harp (1868) and Longley’s Choice Collection of Beautiful Songs (1899), I compare song collections to a wider body of religious hymnody in North America—specifically in the Northeastern region of the United States. These comparisons demonstrate the ways in which Spiritualist acoustemologies—understanding mundane sounds in terms of spiritual sources—arose through music. Whereas a Protestant congregation might use a hymn for a metaphorical communication with an almighty power, Spiritualists used hymn—occasionally even the same hymns—to directly speak to and with the dead.

My argument is based on research conducted in a small Spiritualist community, Lily Dale, NY. Founded in the latter half of the nineteenth century, Lily Dale is home to a collection of historic hymnals and songbooks donated by former residents. Though the books themselves are informative for understanding what was important to the community members who used them, they are particularly valuable for the autographs, handwritten notes, and supplemental materials placed there by their former owners. These material publications—combined with the hymns, their music and texts—are vital for understanding Spiritualists’ conceptions of interactions between the living and the dead. 

Presenter 5: Phil Ford (Indiana University), "Diviner’s Time”

Mysticism resists assimilation to scholarly understanding, not because the latter is rational and the former irrational, but because each is defined by its own order of knowledge. Mystical knowledge is gnosis — initiatory knowledge, revealed in experience, that changes the knower. This paper concerns an object of gnosis it designates diviner’s time. In considering the Azande concept of the “second spear,” Joshua Ramey’s essay “Contingency Without Unreason” adds a fifth cause, the divining cause, to Aristotle’s canonical four. The divining cause “is linked … to the singularity of an event”: it accounts not only for what things happen but when, and for the significance of their timing. The diviner’s cause registers on the human organism much as musical time does; indeed, it might be that the temporality of divination makes of human life a kind of music. 

Thus this paper coins the term diviner’s time_ to describe a temporality whereby the sign, charged with emotion, announces itself in experience. Divinatory signs manifest in a paradoxical interdependence of difference and repetition. The sign repeats not in the manner of two identical words on a page, but like a resonance between sounding bodies. The resonance (literal and figurative) of bells arrange a symmetry between the first and third acts of Richard Wagner’s Parsifal, in which the repetition-in-difference of diviner’s time registers as gnosis. In the uncanny repetition of diviner’s time, we might feel not only that we are listening to music, but as if we are living in music, or are ourselves music.