Guo-logo (Naad)

Modern industrial societies and their overwhelming superiority in technology and dynamic expansion are totally reorganizing the world. All traditional cultures that are alien to these technologically “homogeneous” societies are doomed to extinction. This means that there’s a real possibility that traditional cultures will expire before they can enter “world-culture” circulation.  Bearing all of this in mind, Lāszlō Hortobāgyi set up the “Gāyan Uttejak Society” in Budapest, Hungary 1981. Since then it has been active – among other things – as a music studio and maintains a remarkable library of oriental music. It was named after the Hindu-Moslem musician’s society founded by Navraojji Kabraji in 1870 (it was the school of the great musicologist, V.N Bhātkhānde) .The members of the Gāyan Uttejak Society  and The Gāyan Uttejak Orchestra in Budapest have made it their duty  practice and to study the world heritage of the traditional cultures – among them the classical Language of the Hindu-Moslem Tradition of the Hindusthani Music – but also the bioastronomy, Kathakali, songs of the whales (“whale-canto“), Tinctoris‘compositions, nigromania, computed fractal engines, Rāga-mālā paintings, cyborgs, Kuandalini sex, reports from the Arecibo Radiotelescope’s Post Ozma Project, Tantic mandalas, Skinny Puppy tracks, tortures techniques of the Inquisition, Vedanta, brainwave synthesizers, building techniques of the cathedrals, Dolphin’s Language, Seti-Phoenix Project, Bergen-Belsen, works of Lyn Margulis, Ajanta paintings, the softwares of the Nasdaq derivatums, Cavaille Coll Organs, techno-bio-morphology, Gagaku compositions, reptiles from the Reticulum constellation, Kondratyev cycles, transplantation of the human consciousness into Internet, architecture of Bhuwaneshwar, navigation softwares of the Ohio submarines, works of Stanislaw Lem, piknolepsia, Ustād Imdād Khān‘s compositions, animals’rights, sociology,  Max Reger’s composition, the nature of the human alienation, works of Richard Dawkins, the Polynesian polyrythmia and migrations’ history of the islands, logistic softwares of the transnational corporations,  bol-matrix of the Delhi-Farukhabad-Ajrada schools of Tabla playing, the cast-system of the capitalism, ectoplasma, Louis Vierne‘s compositions, works of Ilya Prigogine, death factory networks of the human societies, works of  Zoltan Ganti,  recreations of the ancient Bali banjar‘s gamelan compositions and the types of gongs, sci-fi visions of Wolfgang Jeschke and the Strugackij Brothers, arithmetric of integers, Persian tonality, Facteur Cheval’buildings, history of the trade unions, creating  polyphonic digital instruments based on Shruti system, etc,etc, -please complete into your preferences here – creating in our brain a well-tempered meme-synthesizer…..(1992)


el-Horto Sound System

It is not needless to mention that each of the ethno-musical elements in the music of Gāyan Uttejak Orchestra – Lāszlō Hortobāgyi – that seems to be original and traditional – are digital reedified and restructured. None of the figuring ethno,vocal,instrumental phrases are in the reality: they consist of small resynthesized samples (20 msec – 9 sec) and digital assorted and rearranged of the original local sound recordings. It’s technological basis are a PCM-morphology using up the old FFT spectrum analysis as an algorhythm controller (like “convolution“) for a virtual overtone processing and granular sample synthesis software developed by L.Hortobāgyi (fifteen years earlier like Melodyne or Kyma-system of nowadays.)The new live program’s repertoire also based on the classical Indian instrumental technique of the Gāyaki-Ang and the Tablā-tārang polyrhythmic structure mixed with this earlier developed sound morphology technique according to his original “computed memesis of music” concept.

Block diagram of the system


:: Guology ::

Gāyan Uttejak Orchestra regrets to inform You: GUO doesn’t have it in its power to guarantee the delightful experience of a conventional concert, as the kind of participation demanded from You is not conform to what is habitual in average concerts.

The Orchestra will not apply means of musical stops, breaks and intermissions to create sensation and to bring down the house, and will not adopt the possibility of reiterating different movements and phrases, and, by way of illustration, will not even take a pause in the course of its performance. GUO‘s music is not going to imitate the structure of traditional Western-European music, and will not provide a reference and encourage delicious adherence to concert-etiquette.

GUO desires to be a humble forerunner of the new Western-Amerasian Empire’s musical mappings that are coming into existence in the caste-system of future society. In addition, GUO is opposed to the traditional music industry that will operate as one of the Wellness-Neuronetics  subdivisions of Wychi-Exonybm  corporation.

GUO has the intention to create a kind of a state of Stoa: its components reside in the periods of the polyrhythmic structure, and they are the ones that will lead to performer-listener levitation and to collective-luminiferous phosphorescence of the Moebius-mind memetized by the music.

The basis for it is the centuries-old hypno-static musical experience of Asian high cultures, where the music itself is nothing else but a sophisticated technique of exode, and that will, as a distillation of the diseased and uninhabitable socium, praise the thousand years old art-techniques of imaginary and momentary escape of humanoid being from evolutionary and social captivity.

In the putrefied social existence, metaphysical prosthesises that are existing, in place of a world livable by intellect, as ectoplasms grown on to human brain, are to be superseded by this sort of music, which is the rational language of the sole existing positive resistance of our days, the only bridge that could guide us, as a quasi yōga technique, to provisional dissolution of collective alienation, to a satori state where self-correction of individual existence will contribute to the improvement of the World.

Be a part of it.

:: Guologia ::

A Gāyan Uttejak Orchestra sajnālattal jelzi: nem tudja Önöknek egy hagyomānyos zenehallgatās ēlmēnyēt biztosītani, mert olyan rēszvētelt kīvān meg Önöktől, amely eltēr a szokvānyos koncerteken bevāltaktōl.

Az Orchestra nem alkalmazza a zenei meg- ēs kiāllāsok hatāskeltő eszközeit, hogy tapsot arasson, nem ēl az egyes tētelrēszek vagy frāzisok ismētelgetēseinek lehetősēgeivel, ēs pēldāul nem tart szünetet sem előadāsai sorān. Zenēje nem követi a hagyomānyos nyugat-eurōpai zenēk szerkezetēt, nem ad fogōdzōt ēs nem segīti a koncert-etikett ēlvezetes betartāsāt.

A Guo csak egy szerēny előhīrnöke kīvān lenni a jövő tārsadalom kasztrendszerēben lētrejövő ūj, Nyugat-Amerāzsiai Birodalom zenei lekēpeződēseinek, ēs szemben āll a hagyomānyos zeneiparral, amely a Wychi-Exonybm korporāciō egyik Wellness-Neuronetics alosztālyakēnt funkcionāl majd.

A Guo a zenēje āltal egyfajta sztoa āllapotot kīvān lētrehozni: ennek összetevői a poliritmikus struktūra periōdusaiban rejlenek, ēs ezek vezetnek el a előadōi-hallgatōi levitāciōhoz, illetve a zene āltal memetizālt moebius tudat közösen felfēnylő foszforeszkālāsāhoz.

Ennek alapja az āzsiai magaskultūrāk ēvszāzados hipno-statikus zenei gyakorlata, ahol a zene nem mās mint egy kifinomult exodus-technika, s amely a beteg ēs lakhatatlan socium pārlatakēnt dicsēri a humanoid ēlőlēny evolūciōs ēs tārsadalmi rabsāgābōl törtēnő kēpzelt ēs ideiglenes szabadulās ēvezredes művēszet-technikāit.

A megzāpult tārsadalmi lētben a metafizikai protēziseket, melyek az emberi agyra növesztett szimbōlumteremtő ektoplazmākkēnt lēteznek egy ērtelemmel belakhatō vilāg helyett, kivāltja ez a fajta zene – a ma egyedül lētező pozitīv ellenāllās racionālis nyelve -, az egyetlen hīd, amely kvāzi yōga-technikakēnt elvezethet a kollektīv elidegenedēs ideiglenes feloldōdāsāhoz, abba a satori-āllapotba, ahol az individuālis lēt önkorrekciōja hozzājārul a vilāg jobbā vālāsāhoz.

Vegyen rēszt benne.