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A devout Catholic, Schaeffer later went on to found a movement with an interest in the esoteric; the cultural-spiritual nationwide youth group La Jeune France, which operated between to The group is known to have explored mysticism as one of its founding principles.
This active interest in the ethereal and sublime, concurrent with the hyper-modern technical advances of the time that heralded in the new digital era of today, is where a connection between Schaeffer and El Dabh is located. The onset of electronic music was a period that author Allen S.
Weiss described, in the early nineteenth and twentieth century, as an era of spiritualist manipulation of electric waves in the ether, that were 'destined to merge with the psychic waves of the departed, such that electricity would permit contact with the after-world,'  To Weiss, the psychic energies conjured by electricity replaced the 'animal magnetism' of the previous age, defined by 'mesmerism'.
Nothing better expresses the difference between ancient and modern paradigms of aesthetics and ontology, where the rapidity and excitation of electric power serves as the new symbol of a body now ruled by technology, without divine interference. The zaar composition, Wire Recorder Piece, while containing elements of melody sung by the women conducting the zaar, is in fact an abstraction of traditional sounds, or one of humanity's oldest sounds: Weiss points out that Novarina's radiophonic works 'instantiate this recorporealization of the human voice', something with which El Dabh continued to experiment, 'all the while achieving a disquieting grafting of mechanical, electric, and electronic possibilities onto the strictly human potentials of sound recording and transmission — an artificial transmogrification of respiratory patterns and vocal intonations.
The moveable architecture of the Cairo radio studios El Dabh used gave his work its timbre by allowing the creation of highly effective reverberation, thus turning the studio into an instrument in its own right.
In the case of Expressions of Zaar, an echo chamber, a re-recording room, and electronic machinery with adjustable voltage controls, all allowed manipulation of the equalization, over-layering and enhancing tones in the women's voices and diminishing selected tones.
Strangling and pulsing the electrical feeds, he discovered, would change the speed and created rhythms. Recording these back onto the wire recorder at first and then reel-to-reel tapes, the voltage manipulation would remain a preferred method for El Dabh throughout his career, even when he later had the option of working with Moog synthesizers.
But for El Dabh, the nature of innovation in Expression of Zaar transcended technicalities, in that the work involved gaining access to parts of Egyptian society mostly closed to men. El Dabh did this by, he says, requesting special access while he and his friend disguised themselves as women so as not to stand out, hiding the kilogram recorder under their disguises.
El Dabh recorded the women chanting onto the portable wire recorder there are other noises during a zaar and he recorded many different zaars, but only the sounds selected for Expressios of Zaar remain.
In doing so, he transformed a device used for interviews and street reporting into a musical source, thereby creating a window into music from the streets. For El Dabh, this interrogation was about exploring the 'body sounds' that 'we emanate.
The tape that El Dabh used instead of the shellac was, as Schaeffer noted, too expensive in France at the time.
The advent of electronic mediums created sudden access to manipulations of the timeline, successions of sounds could now be cut up and rearranged after being performed. This new realm of post production also offered the composer the possibility to change the nature of timbres of the recorded sounds, something which had already been achieved to an extent on celluloid film.
But where Schaeffer strove to fracture and foreshorten the aural landscape of the everyday until it became an incoherent narrative that reaches abstraction in juxtapositions, El Dabh sought a certain unity. I am with the creases of sound waves and of vibrations riding the tapestry of time,'  he explains.
For him, the achievement was not in his use of electronic equipment, but in his discovery of a new sound: Metamorphosis and Fugue hint at the size, dynamics and penchant for measured frenzy that would come to signify his avantgarde work.
The confluence of strings suggest El Dabh's ease at composing with dissonance, which he considered clashes, or tone clusters, that generated vibrations through the unconventional choices of clustered notes.Featuring Stelae of Axum by Halim El Dabh, , glockenspiel. I travelled a lot even when I was a kid, with the husband of my niece, who used to go to Uganda to the upper part of the Nile to work with it, so I was exposed to sound, I was exposed to different things since I was a child.
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