Ensemble Altramar took its evocative name from the troubador’s Occitan term for the lands from the close to East “on the ocean.” As observed within the group’s very own promotion, the melting container of crossing trade routes (not forgetting the Crusades) in this area helped enable the wealthy ethnic interchange between East and Western world in the afterwards Middle Ages. Furthermore, this middle ages music ensemble embodies ethnic interchange: between East and Western world, between court lifestyle and peasant, between “early music” and globe music, in the twelfth century towards the twenty-first. Founded in 1991 and located in Bloomington, Indiana, Altramar presents lively and powerful applications of Middle ages repertories, wanting to present not merely the musical records, but the whole tapestry of musical knowledge which irrevocably links melody and tale, dance and play. Over its initial a decade, Altramar released five recordings over the Dorian label; the spellbinding psychological rhetoric of the live performances, nevertheless, can’t be captured on disk. The four associates from the ensemble combine vocal and instrumental functionality, bringing with their wealthy collaboaration a mixed group of musical encounters. Jann Cosart contributes playing and improvisation upon a number of bowed string equipment, covering nine decades of musical designs. Angela Mariani provides vocals and spirited accompaniment on middle ages harps and percussion. David Stattelman, been trained in the Catholic liturgy, brings a resonant tenor tone of voice and also has various percussion equipment. Ethnomusicologist Chris Smith sings, recites, and has equipment from cruit to gittern to oud; his various other musical endeavors consist of an African jazz-band and the center Eastern band Taarab. All of the instruments performed are custom-built for the group in models matched towards the repertory by luthier Timothy G. Johnson. Each one of the ensemble’s applications requires as its starting place a single middle ages repertory or an element of medieval social encounter: the Duecento Italian Lauda (within the applications Nova Stella and St. Francis as well as the Minstrels of God); the Celtic poetic and musical history (Crossroads from the Celts); the interplay of Jewish, Christian, and Muslim affects in middle ages Spain (Iberian Backyard); the pan-European reactions to Latin like a “common” vocabulary and to the idea of the Hero (Fabulae Latinae as well as the Eternal Hero). Much like any re-creation of middle ages efficiency practices, the very first component is scholarly study upon the musical and poetic resources; Altramar also thoroughly considers narrative and iconographical proof for instrumental forms. To these even more traditional and positivist worries, the people of Altramar provide a fertile discussion with ethnomusicology and dental customs of improvisation. Most importantly, their shows bespeak an psychological sincerity and rhetorical power: through the lament for the loss of life of Richard Coeur-de-Lion towards the Arabic Zajal of Ibn Quzman, towards the Lay from the Forge as well as the hero Fionn, their efficiency ethos looks for to recreate not merely sound but all of the sensual and psychological experience of human being culture.