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sapiens into those of modern musical history, and it is written with the deliberate intention of informing readers who are without special education in music, and providing necessary information for inquiries into the origin of music by cognitive scientists. This paper draws the ethnomusicological perspective on the entire development of music, instruments, and performance, from the times of H. This is followed by iconographic evidence of the instruments of later antiquity into the European Middle Ages, and finally, the history of public performance, again from the possibilities of early humanity into more modern times. The sound of music is then discussed, scales and intervals, and the lack of any consistency of consonant tonality around the world. We continue with how later instruments, strings, and skin-drums began and developed into instruments we know in worldwide cultures today. We warn that our performance on replicas of surviving instruments may bear little or no resemblance to that of the original players. We then proceed to how instruments began, with a brief survey of the surviving examples from the Mousterian period onward, including the possible Neanderthal evidence and the extent to which they showed “artistic” potential in other fields. There are four evident purposes for music: dance, ritual, entertainment personal, and communal, and above all social cohesion, again on both personal and communal levels. The possibilities of anthropoid motor impulse suggest that rhythm may have preceded melody, though full control of rhythm may well not have come any earlier than the perception of music above. The earlier hominid ability to emit sounds of variable pitch with some meaning shows that music at its simplest level must have predated speech. We discuss the stages of hominid anatomy that permit music to be perceived and created, with the likelihood of both Homo neanderthalensis and Homo sapiens both being capable. Music must first be defined and distinguished from speech, and from animal and bird cries. University of Oxford, Oxford, United Kingdom.2 Project of Evil (episode "TARR&FETHER)Ģ011 P.O.E. Rojas (Trauma)Ģ019 Ill - Final Contagium (segment THE BODY)Ģ017 Grindsploitation 3 Video Nasty (segment "NO One Will Be Safe")Ģ012 P.O.E. In his career he worked also with/for: Carlo De Mejo (City of living Dead), Maria Rosaria Omaggio (Nightmare city), Ruggero Deodato (Cannibal Holocaust), Frank Laloggia (Lady in white), Venantino Venantini (Ladyhawke), Giovanni Lombardo Radice/John Morghen (Cannibal Ferox), Mariagrazia Cucinotta (El dia de la bestia), Stefano Cassetti (Roberto Succo), Romano Scavolini (Nightmare in a damaged Brain), Lynn Lowry (Shivers, The Crazies), Lucio A. HOUSE OF FLESH MANNEQUINS won six international awards and eight international film festival presentations.ĭomiziano Cristopharo has frequently been compared as a perfect mix between Fellini and Dario Argento: Cristopharo's aesthetic has a vintage quality: he is simultaneously extreme in style, shocking, and yet classic. Ten years ago he obtained enormous audience and critical acclaim with HOUSE OF FLESH MANNEQUINS (starring international horror actor Giovanni Lombardo Radice).
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Domiziano Cristopharo, an independent film director from Rome, has been the first Italian director in years to try and revive the erotic/horror film genre.