POSITION PAPER #1Music 227DUE 2/11 in classInstructionsFor your first writing assignment, please to compose a response to one of two...
ester9
finding_god_.pdf
it u n
d e r
th e
flo o
rb o
a rd
s o f
th e
m o
te l
ro o
m , th
e n
leav es to
fin d a
so ld
ie r w
h o
m ig
h t
e x
c h
a n
g e
fo o d
fo r
sex .
In
h e r
a b se
n c e
th e
sta rv
in g
Ian
d ig
s u
p
th e
b ab
y a n
d ,
re tc
h in
g ,
slak es
h is
h u
n g
e r.
H e th
e n
clam b ei s in
u ) th
e b
ab y 's g
rav e
as rain
falls
fro m
th
e
ceilin g
o n
h is
ex p o sed
h e a d
. C d ie
re tu
rn s, b
lo o d p
o o r-
in g
d o w
n
h e r leg
s, w ith
a sau
sag e th
a t
sh e p
ro c e e d
s to
g
o b
b le
, w ash
ed d o w
n w
ith Ia
n 's b
o o
z e .
L ik
e
F ran
z
X av
ier K
io e tz
's eq
u ally
re le
n tle
ss R
e q
u e st
C o
n c n t, alm
o st
all o f
th is
is m im
e d .
W h ai
la n g u a g e
th e re
is
co n sists of g
ru n
ts a n
d sim
p le
m o n o .sy
lla- b les. B
tit u n
d e rn
e a th
th e rep
u lsiv
e stag
e a c tio
n th
e re
is a stab
at a th
e m
e —
th a t a
d ire
c t lin
e ex
isis b etw
een th
e b
ru ta
l car-
n ality
o f
c a rn
iv o
ro u
s m
ales a n
d
th e
c o
n d
u c t o
f m o
d e rn
w ar. M
an y
w ill reject
th is id
ea, a n d S
arah K
an e d
o e s n
o t m
ak e
it tra
n sc
e n
d e n
t e n
o tig
h
to
ju stify
th
e in
c re
d ib
le sto
ru i o
f h o
rro rs sh
e ra
in s o
n th
e
a u
d ie
n c e .
B u t
y o u
d o
n 't
h av
e
to ag
ree w
ith h
e r th
e m
e to
feel its p o w
er, o r
to re
c o g n iz
e th
a t
th e p lay
is an
h o
n o
r- a b le
effo rt
a n
d n
o t sim
p ly
a d
irt} ' d
e e d
d o
n e p
u b licly
. W h atev
er th e case. B
la ste
d is
b eatitifu
ily
a c te
d
by
K iite
A
sh field
(G a te
), P ip
D o n ag
h y (Ia
n ) a
n d D
e rm
o t
K errig
au (th
e so
ld ie
r), .^ n d w
h atev
er its lim
ita tio
n s.
B la
ste d
is fu lfillin
g
th e m
i.s- sio
n o
f th is a
d v
e n
tu ro
u s th
e a te
r to d
is- co
v er a
u d
to e
n c o
u ra
g e n
ew y
o u
n g
p lay
- w
rig h L
s. 1 h e sp
irit o f G
e o rg
e D
ev iiie
still h
a u
n ts tlu
'se h
alls. •
Finding G od at Tow
er R ecords.
The V irtual Sacred
B Y
K A
T H
E R
IN E
B
E R
G E
R O
N
N o t
lo n g
ag o
tw o
p ic
tu re
w in
d o w
s o f
a n
u p scale
re c o
rd
sh o
p
in
B erk
eley feattired
a
d isp
lay
o f
re- c e n t
releases o f
m ed
iev al
c h
a n
t. O
n o
n e
sid e ,
n e a t
ro w
s o f
id e n
tic a l
jew el
cases fo rm
e d
p a tte
rn s
fro m
th
e sin
g le,
su rie
a listic
im
ag e
re p
e a te
d
o n
each
co v er. Y
ou k
n o w
th e o
n e : p
io u
s, co w
led m
o n
k s,
flo atin
g
iu
so m
e
h y
p e rsp
a c e
clo ister ag
ain st a
p e rfe
c t,
M ag
ritte-b liie
sky. T h
e
im ag
e serv
es as th e
attractiv e
w ra
p p
in g
fo
r th
e
c o
m p
a c t
d isc
th
at A
n g el R
eco rd
s is callin g
sim p ly
C h m
it. a p ack
ag e c
o u ip
ile d
fro m
a u
io d e si co
llec- tio
n o
f re c o
rd in
g s m
a d
e so
m e tw
o d
e c -
a d e s ag
(i by th
e B
e n
e d
ic tin
e
m o n k s of
S a n to
t)o
u iin
g (»
d
e
S ilo
s. U
p o n
its re-
lease in
D e c e u ib
e r
1 9 9 3 , th
e n
ew -o
ld re-
c o
rd in
g h
a d e
x p
e rie
n c e d
, w ith
th e h
e lp
o f A
n g
e l's a
d v e rtisin
g b
u d
g e t, a
su d
d e n
a n d
u u
p re
c e d
e u
te fi .su
ccess th at sen
t th is
a n
c ie
n t re
p e rto
ry o
n a
jo iu
n e y in
to th
e u n lik
ely te
rra in
of p o
p u
la r m
u .sic, w
h ere
it la n d e d
o n
th e c
h a rts.
1 h e o
tiie r w
in d o w
d isp
lay ed
an e
q u a l
a n
d o
p p
o site
n
u m
b e r o
f c o
m p
a c t d
iscs a d
o rn
e d
w
ith
a
less fam
iliar im
a g e ,
th in
ig h
o n
e
lik ely
to
b
e
re c o
g n iz
e d
by
th e
sh o
p 's
p a tro
n s,
th e
tm iv
ersity -
e d
u c a te
d d
ev o tees o
f w h at is m
o st o
ften c a lle
d "eaily
iiu isic." T
h is c.D
. w as also
a c o
m p
ila tio
n ,
p ro
d tic
e d
b y th
e
F ren
ch
B K
R f.F
R O
N
te a c h
e s
m u
sic
a t
th e
U n
iv e rsity
o
i G
a lifo
rn ia
, B
e rk
e le
y ,
a n
d is a
t w o
rk o
n
D e c a
d e n t
E n c h
a n tm
e n
t.
c o m
p a n y
H
a rm
o n
ia M
u n d i, w
ith selec-
tio n s fro
m m
o re
th an
a d
cjzen p
rev io
u sly
re le
a se
d
re c o
rd in
g s o
f c h
a n
t a n d v o cal
p o ly
p h o n y
by th
e in
n o v ativ
e
E n se
m b le
O rg
a u
iu n
. O
n
th e
co v er's
lo w
er rig
h t-
h a n
d
c o
rn e r,
a so
lem n
a n d
ra
th e r
u n -
fla tte
rin g
p h
o to
o f
M arcel
P e re
s, th
e g
ro u
p 's d
ire c to
r, h u m
b ly
a u
th e n
tic a te
d th
e re
c o
rd in
g , w
h ile
a D
a y
-d o
o ra
n g
e stick
er fix e d
ju st ab
o v e h
is h e a d m
a rk
e d
its v alu
e, a u
n o
tm c in
g th
e release
as b o th
n o v el
("N L
W ! iN
T R
o iifcrio
N
T O
C
H A
N T
I")
a n
d
e c o
n o
m ic
a l
(s4 .9
9 ).
T o
g e th
e r
th e
tw o
re c o
rd in
g s d
isp lay
ed , lik
e th
e d
o u
- b le
u iask
s o f
th e
G reek
th
e a te
r, tw
o a p
p a re
n tly
o
p p
o se
d
fa te
s o f
c h a n t—
p o
p u
la r a
u d
e lite
, g e n
e ric
a n
d e
so te
ric ,
c lic
h e
a n
d
re c h
e rc
h e —
e a c h
w in
g
fo r
a tte
n tio
n in
th e sam
e, im p
ro b
a b
le sp
a c e .
I b o
u g
h t th
e m
b o
th .
T h
e
re la
tio n
b e tw
e e n
th
e se
tu
o im
ag es of c
h a n t rev
eals so m
e th
in g
ab o u t
th e c
u rre
n t "c
h a n t" craze; a
n d (h
e w
h o le
p h
e n
o m
e n
o n
o i c
h a n
t as m
u sic
in th
e m
o d
e rn
im
a g
in a tio
n ;
a u d
th e
v ario
u s
g tiises in
w h ich
it a p
p e a rs; a
n d th
e co
n -
tex ts in
w h ich
it h as a
c q
u ire
d v
alu e a
n d
m e a n
in g
. It is tisefu l
to b
e g in
w ith
th
e p erfo
rm au
(e> i
at h a n
d , th
e p
a ir o
f d iscs
fro m
th e re
c o
rd sto
i-e w
in d o w
, ju st a
few se
c o
n d
s o f liste
n in
g to
each m
ak es clear
th a t th
e se
iw o re
c o
rd in
g s p
re se
n t
a u
ra l
im ag
es th a t a
re as lu
iiq u
e as th
e ir p
ack -
ag in
g . T
h e
p e rfb
ru ia
n c e s
o ffer
au o
p -
p o rtiu
iity to
ev alu
ate th
e m
e a n
in g
s asso -
c ia
te d w
ith c h
a n
t in
d istin
c t
tim es
a n
d p la
c e s, a
n d
to
c o
m p
a re
h o w
th e
d iffer-
e n
t c irc
u m
sta n
c e s
serv e
to
d e fin
e
th e
m u sic
fo r c
o n
te m
p o
ra ry
a u
d ie
n c e s.
D efin
in g c
h a n
t ttiru s o
u t. in
fact, to b
e m
o re
th an
a little
d iffu
u lt. A
s a fo
ru i o
f sacred
n u isic, it is im
p o ssib
le to
se p
a ra
te th
e
m u sic
fro
m
th e
ritu a l
p ra
c tic
e
it in
h a b
its, w h ich
in
tu
rn
m ak
es it
p ro
b -
lem atic
to .sp
eak a
b o
u t c
h a n
t as "m u sic"
in an
y c
o n v e n tio
n a l sen
se. W liat is calied
"G reg
o rian
c h
a n
t" g en
eraiiy refers to
th e
ritu a l
tra d itio
n
o f
th e R
o m
an
C ath
o lic
t^ h u rch
, a tra
d itio
n i.ssu
in g fro
u i a
ro tm
d th
e tim
e o
f G h
a rle
m a g
n e
(th o
u g
h w
ith m
y th
o lo
g ical
o rig
in s
a ttrib
u te
d
to
th e
six th
-c e n tu
ry P
o p
e G
reg o ry
, said to
h av
e receiv
ed th
e sacred
so n g s by
d iv
in e in
sp i-
ra tio
n ). T
h is c
h a n
t is b
ased o
n a
y early
cy cle
o f
sacred
tex ts,
d raw
n
fro m
th
e B
o o k o f
P salm
s a n d
th e
v ario
u s
scrip -
tu ral n
a rra
li\e s o
f th e life
o f [estis, w
h ich
a re
g iv
en
"v o ice"
each
d ay
by
m
e a n
s o f
fo rm
u la
ic
to n
e s
o r
e la
b o
ra te
m
elo -
d ies d
u rin
g th
e p
rin c ip
le m
o n astic
ritu -
als o f M
ass a n
d O
ffice. G
h an
t refers
to th
e se
d aily
acts o f
m o n astic
sin
g in
g as
w ell
as to th
e e n
tire c o
m p
le x
b o d v o
f m
elo d ies—
th e so
n g s th
at to g
e th
e r m
ak e
u p th
e seaso
n s o
f th e litu
rg ical y
ear.
C ;h
an t al.so
d e n
o te
s a w
ritten tra
d itio
n ,
in fact, th
e earliest tra
c e s o
f m u sic
w rit-
in g in
th e W
est, a u d th
u s it m
e rits p
rid e
o f p
la c e in
m
tisic h isto
ry as th
e o ld
e st
su rv
iv in
g g
e n
re o
f E u ro
p e a n m
tisic. T h
e earliest
m a n
u sc
rip ts
th at
c o
n ta
in
w h at
a p
p e a r
lo
b e
"m u sical"
n o
ta tio
n
a re
b arely
leg ib
le, o fferiu
g little
m o re
th an
a b asic
sy stem
o f d
iacritical m ark
s th a t re
p -
resen t u
p w
ard o
r d o w
n w
ard v
o cal iu
fiei- tio
n s. N
o t u
n til m
u ch
later iu th
e m
id d le
ag es
(after th
e tw
elfth
c e n
tu ry
) d
o w
e fin
d m
a n
u sc
rip ts
w ith
a n
o ta
tio n
a l sys-
tem clo
se e
n o
u g
h
to th
e m
o d
e rn
staff
th a t th
e a
c tu
a l p
itch c
o n
te n
t o f th
e re
p -
re se
n te
d
m e lo
d ie
s can
b e
d e te
rm in
e d
easily . It is fro
m th
e to
talit)' o f th
ese w
rit- ten
so u rces th
at th e c
o rp
u s of so
n g
ih a t
u iak
es u p "c
h a n
t" h as b
e e n d
e c ip
h e te
d .
G iv
en th
e am
b ig
u ity
o f th
is w ritten
trad i-
tio n it is n
o w
o n
d e r th
a t in
m o
re re
c e n
t tim
es a n
u m
b e r o
f d iffe
re n t
th e o
rie s o
f c h
a n
t p
e rfo
rm a n
c e
h av
e
e m
e rg
e d
. A
c o
n sid
e ra
tio n
o f c
h a n
t in
oiu" o w
n d
ay w
ill in
ev itab
ly h av
e to
ta
k e a c c o
u n
t o
f th
ese d
iv erse
id eo
lo g ies o
f p e rfo
rm a n
c e .
T h e P
eres re c o
rd in
g
o ffers,
o b v io
u sly
, a la
te -tw
e u tie
th -
c e n
tu ry
tak
e o
n
th e tra
d i-
tio n
. Iti
te rm
s o f
so im
d a lo
n e , it d
o e s n
o t su
rp rise
. T h
e v
o ices o
f th
e
E n se
m b le
O
rg a n
u m
p o ssess
th a t
sm all,
clean
q tiality
w
e h av
e
co irie
to
e x p e c t fro
m
"early m
tisic." T h
e sin
g in
g h a s th
e so
u n
d o
f re se
a rc
h in
it— a to
n e ,
carefu l as sc
h o la
rsh ip
, w h o se
serio u sn
ess seem
s so
m eh
o w
to
m
aich
th a t
o f
th e
u n
sm ilin
g
m an
w
h o
a p
p e a rs
o n
th e
c.D .'s
co v er.
In d
e e d
, th
e
so u n d
o f
th e
re c o
rd in
g
co u ld
n
o t
stan d
in
sta rk
e r
F E
B R
U A
R Y
2 7 , 1
9 9 5
T
H E
N F
:W R
E P
C B
L IC
2
9
c o
n tra
st to
th
e
w a rm
, o v er-lu
sh
am b i-
e n
c e
issu in
g
fro m
th
e
S p an
ish
B en
e- d
ic tin
e s,
w h o
a re
m
a d
e
to
a p
p e a r,
th ro
u g
h
th e
m ag
ic o f
d ig
ita l
e n
h a n
c e -
m e n
t, a lm
o st la
rg e r th
a n liie
. B
u t
th e
d iffe
re n c e s
g o w
ell b e y o n d
to n
e c o lo
r. It b
e c o m
e s
e v id
e n t
b y sam
- p lin
g th
e p
ie c e s o
n th
e P
e re
s a n th
o lo
g y
th a t th
e w
o rk
of th e E
n se
m b le
O rg
a n
u m
is a
b o
u t re
se a rc
h ,
o tie
rin g
u s
n o
t o
n e ,
b u
t m
an y
c h
a n
ts, each
o n
e h isto
rically sp
ecific, p re
se n
tin g
a n
ew a
n d
startlin g ly
d iffe
re n t
a sp
e c t. S
in c e th
e early
1 9 8 0 s,
P e re
s h a s m
a d
e h
is re p
u ta
tio n
as a n
in -
n o
v a to
r in
th
e
p e rfo
rm a n
c e
o f
c h
a n
t, h a v in
g e
sta b lish
e d
h is E
n se
m b le
at
th e
F o
n d
a tio
n
R o y a u m
o n t
o u tsid
e
P aris as
a n
o fficial
'W o rk
sh o p "
fo r
stu d y in
g
m ed
iev al
m u sic
, (it
h a s
th e
re -
q u isite
a c ro
n y m
: A R IM
M ,
fo r
th e
A te
lie r
d e
R e c h
e rc
h e
e t
d 'ln
te r-
p re
ta tio
n
d e s
M n siq
u es
M ed
iev ales,
a
k in
d
o i
m ed
iev al lR
tA M
.) A
s p
ro d
u c ts
o f
su ch
stu d y ,
th e
re c o
rd in
g s
o f
th e
E n se
m b le
h av
e c o n siste
n tly
fe a tu
re d
a p -
p ro
a c h
e s
th a t
a re
, to
u se
th
e ir
te rm
s, b
o th
"th o ro
u g h ly
h isto
ric a l"
a n d "th
o ro
u g h ly
e x
p e ri-
m e n ta
l"— a p p ro
a c h e s, in
o th
e r
w o rd
s, th
a t
c o n -
scio u sly
d e p
a rt fro
m th
e e a n
o n
s o f e
x p re
ssio n al-
read y
e sta
b lish
e d
fo
r a
g iv
en
re p
e rto
ry .
In
th is
w ay, th
e ir w
o rk
sh o p can
b e seen
to c
a rry
o n
w h in
is essen tially
a tw
e n tie
th -
c e n
tu ry
tra d
itio n
o f ear-
ly m
u sic
p e rfo
rm a n
c e , a
tra d
itio n
th a t (as R
ich ard
T a ru
sk in
a n d o
th e rs h
av e
d e m
o n
stra te
d )
seek s
to p
re se
n t an
im ag
e o
f "h isto
ry " b
y an
act o f
stra n g e -m
a k in
g ,
a d
e fa
m ilia
riz in
g
o f
m u sical p
ra c tic
e : th
e o
ld is b
est h e a rd
by re
c o u rse
to a
so u n d th
a t is n
ew .
W T
iat is
n ew
o r
e x
p e rim
e n
ta l
iu P
e re
s's c h
a n
t p
e rfo
rm a n
c e s
can
b e
fo u n d
in h
is self-co n scio
u s a
p p lic
a tio
n o
f E
a ste
rn , n
o ta
b ly
B y z a n tin
e , c
h a n
t tra d i-
tio u s
to
o ld
e r
re p
e rto
rie s
o f
six a lle
d W
e ste
rn c
h a n
t, o r w
h at h
a s b
e e n called
th e
O ld
R
o m
a n
, a n d
th
e
A m
b ro
sia n .
T h
e h
isto ric
a l a
rg u
m e n
t fo r su
ch e
x p
e ri-
m e n
ts is easy e
n o
u g
h to
c o
n stru
c t. O
n e
n e e d
o n ly
p o
in t, as th
e se
p e rfo
rm e rs d
o ,
to th
e "c
o n flu
e n c e o f c
u ltu
ra l c
u rre
n ts"
in
c o m
m e rc
ia l
c e n
te rs
su ch
as
e ig
h th
- c e n
tu ry
R o m
e o
r M ilan
, a c
o n
d itio
n th
a t
su g g ests
th e
c o
n sid
e ra
b le
p
re se
n c e
o f
(ire e k
m u sic
p ra
c tic
e s in
th e sin
g in
g o
f th
e litu
rg y .
B u i
th e p ro
o f
really lies in
p e rfo
rm a n
c e .
P e re
s's in n o v a tio
n c o m
e s
acro ss
in
th e
n n
m b
e r
o f
w ays
h e
h a s
a tte
m p
te d
to in
te g
ra te
su ch
e le
m e n
ts in d iffe
re n t
re c o
rd in
g s: n
o t o
n ly
b y
p ra
c tic
- in
g m
o d
e s o
f o rn
a m
e n
ta tio
n ,
p h
ra sin
g a iu
i tu
n in
g
d e riv
e d
fro
m
B y zan
tin e
c h
a n
t, b u t—
m o st
im p o rta
n tly
— b y
in
- c lu
d in
g w
ith in
h is e
n se
m b le
an "a
u th
e n -
tic " v
o ice
fro
m
th a t
tra d
itio n
. T
h e last
se le
c tio
n
o u
th
e
sa m
p le
r, a lo
n g a n
ti- p
h o
n a l
c h
a n
t fro
m
th e
R o m
an
O ffice
f"or G
o o d
E
rid ay
, is
a rre
stin g
in
its
"n ew
n ess," p
re se
u tin
g u
s w ith
th e so
u n
d o f a
G re
e k
O rth
o d
o x
p rie
st, L
y co
u rg
o s
A n
g e lo
p u
lo s, as h
o n
o ra
ry le
a d
e r o
f th e
e n
se m
b le
.
It is th e sh
e e r
d iffe
re n c e
o f th
e c a n -
to r's v
o ice
in th
e c
o n
te x
t o f "early
m u sic
"
IHEBENEDICIINEIOiSOFS
sin g in
g th
a t c
re a te
s th e strik
in g
effect. In th
is p
a rtic
u la
r c h
a u
t, th
e d iffe
re n c e
is illu
stra te
d by
th e a
lte rn
a tio
n tb
a t d
efm es
th e a n
tip h
o iia
l te
x tu
re :
first th
e "re
a l"
sin g e r,
d e c la
im in
g
a p
h ra
se
in
G re
e k ,
a n
d th
e n
th e sh
ad o w
\' re p
re se
n ta
tio n
o f
it b y
an e a rn
e st,
b u
t still v
ery E
n g lish
, M
alco lm
B o th
w ell re
sp o
n d
in g in
L a tin
. W
e can
h e a r th
e "stu
d ie
d " d
im e n
sio n o
f B
o th
w e ll's
im ita
tio n
s, th
e
m e tic
u lo
u sly
c o
p ie
d p
h ra
sin g
a n
d o
rn a m
e n
ta tio
n .
I feel a
lm o st as if I am
e a v
e sd
ro p
p in
g o
n a
lesso u
b e tw
e e n
an
o ld
m
a ste
r a n
d
h is
n ew
p u
p il.
Y et
th e re
is
o n
e
d im
e n
sio n
o f
th e
sin g in
g ,
p e rh
a p
s th
e
m o st
affectin g
o f
a ll,
th a t
n e ith
e r
B o th
w ell
n o
r o
th e r
m e m
b e rs o
f th e e
n se
m b
le seem
a b le
(o r
w illin
g )
to im
ita te
. I refer to
th a t
d a rk
, ftill-b
o d ied
, b
u t
slig h d y
c o v e re
d ,
v o cal
tim b
re th
a t
id e n tifie
s A iig
e lo
p u lo
s as a
d istin
c tly
n o
n -E
u ro
p e a ti sin
g e r. T
h is d
ii- fe
re n c e
h a s
c o
m p
e llin
g
c o
n se
q tie
n c e s.
T h
e (Ire
e k c
a n
to r is d
e stin
e d
, th
ro u
g h
- o
u t
th e
n in
e te
e n
-m in
u te
c h
a n
t, to
re-
m a in
essen tially
o u L
sid e th
e sp
a c e o
f th e
e n
se m
b le
. A n d
a.s an o
u tsid
e r
b is fu
n c-
tio n
b e c o
m e s th
a t o
f a c
u sto
d ia
n , a
to u
r g
u id
e fo
r o u
r liste n in
g . H
is sin g in
g , in
it-s a u
th e n
tic "o
th e rn
e ss," sets a
sta n
d a rd
o f
d iffe
re n c e
b y
w h ic
h w
e can
b e g in
to
in -
te rp
re t
ju st w
h at
th e E
u ro
p e a n
sin
g e rs
a re
try in
g to
d o
.
In d
e e d
, w
e m
ig h t v
iew th
e a u
th e n
tic o
ra l
tra d
itio n
th
a t
P e re
s in
tro d
u c e s
in to
th
is p
e rfo
rm a n
c e
as so
m e th
in g
o f
a
h o
m e o
p a th
ic
c u
re
fo r
th e
a ilin
g c h
a n
t: th u
s in o
c u
la te
d , th
e sin
g e rs ta
k e
o n
th e
stra in
s o f
th e
o th
e r sty
le as a
m e a n
s o f
b o
o stin
g th
e ir
in te
rp re
- tiv
e
stre n
g th
. It
h e lp
s th
e m
to
m
a in
ta in
th
e ir
m u sic
o lo
g ic
a l
d e c o
ru m
, so
th
a t
w h at
th ey
sin
g w
ill b e
p e rc
e iv
e d
as
"m e d ie
v a l"
a n
d
n o
t "B
y zan
tin e,"
as "early
m u sic
" a n
d
n o
t "w
o rld
m u sic
," a n
d
h e n
c e
w ill
d e liv
e r
th e
d e sire
d
ef- fect.
F o r
it is
p re
c ise
ly th
a t o
d d sp
a c e b e tw
e e n
th e
tw o
sty
les, a
n ev
er- n e v e r la
n d
b e tw
e e n
h e re
a n d
th
e re
, th
a t
u lti-
m ately
c re
a te
s th e effect.
It stim
u la
te s
th e im
a g i-
n a tio
n
o f
th e
liste n e r,
su g g e stin
g th
e v ery
im
- ag
e
o f
a
re m
o te
a n
d u
n a tta
in a b
le
m u sic
th
a t
re c a lls
a n
e q u a lly
re
- m
o te
p a st.
T h
e
sc h
o la
r D
av id
H iley
, in rev
iew in
g th
is re c o
rd in
g o
f R o m
a n
c h
a n
t after
its re
le a se
in 1
9 8 7 , e
x p
e rie
n c e s th
e so
u n
d iu
th is w
ay , p
ra is-
in g
th
e
p e rfo
rm a n c e —
e sp
e c ia
lly
th e
e x
p e rim
e n
ta l
iso n , o
r su sta
in e d d
ro n
e ,
tb a t is e
m p lo
y e d th
ro u
g h
o u
t— in
te
rm s
th a t m
ak e its effect a
b u
n d
a n
tly c
le a r: "It
is o n
e o
f th e m
o st fascin
atin g
re
c o
rd in
g s
to c
o m
e m
y w
ay fo
r so m
e tim
e ....
[T h
e siu
g in
g ]
c re
a te
s an a tm
o sp
h e re
o f aw
e a n d m
y stery
."
It is
b a rd
to
im
a g in
e
H iley
, o
r an
y o
th e r c
ritic , m
u ste
rin g th
e sam
e e
n th
u si-
asm fo
r th e B
e n
e d
ic tin
e m
o n k s o
f S a n to
D o m
in g o
d e S
ilo s. T
h e m
o tik
s, o f c
o u rse
, d
o
n o
t p
e rfo
rm
"early "
m u sic
. T
h e y
c h
a n
t. In d
e e d
, th e q
u ality
o f sin
g in
g o
n th
e A
n g el r.D
. so c
o m
p le
te ly
c o
n fo
rm s
to th
e so
tm d th
a t w
e g
e n e ra
lly a
sso c ia
te w
ith c
h a n
t th a t o
n e m
ig h
t su itab
ly re
fe r
to it as a
k in
d of d
e fa
u lt m
o d
e o
f p e rfo
r- m
a n
c e . A
c o lle
a g u e o
f m in
e o
n c e c
a lle
d th
e sty
le "d
irty c
h a n
t," re fe
rrin g
, I th in
k ,
to th
e a u
d ib
le
tack o
f c h
o ra
l p
re c isio
n
3 0
T
H E
N
E W
R
E P
U B
L IC
F
E B
R U
A R
Y 2
7 ,1
9 9 5
th a i
u ltim
a te
ly h a s th
e q
tiality o f a
v ir-
tu e in
th e sty
le, id en
tify in
g th
e sin
g e rs
as n
o n
p ro
fe ssio
n a ls.
A ll in
fe lic
itie s o
f p
e rfo
rm a n
c e —
n e a i'
m isses
in
in to
n a -
tio n
, o ccasio
n ally
la
g g a rd
p h
ra sin
g —
te n
d , o
f c o
m se
, to b
e c
o v e re
d u
p b
y th
e h y p e r-re
so n a n i
sp a c e in
w b ich
tb
e re
- c o
rd in
g s a
re tisu
ally p
ro d
tic e d
, a
sp a c e
w h o se
a b
u n
d a n
t aco tistic
o ften
serv es to
o b
sc u
re a
g o o d
n
u m
b e r
o f ih
e w
o rd
s, lo
o .
li w as sn
rely fi'o
m th
is m a in
stre a m
.u u
\ so
m e w
h a t
u lilita
ria n
p
e rfo
rm a n
c e
p ra
c tic
e th
a i P
e ie
s th o
u g
h t
il n e c e ssa
ry lo
d e p
a rt in
o rd
e i' to
re sto
re , as th
e lin
e r
n o
te s to
o n
e o
f h is re
c o
rd in
g s stig
g ests,
th e
"o rig
in a l
e o
lo r"
o f th
e sp
e c ia
liz e d
re p
e rio
rie s b
e w
as stu d y in
g , lo
re c a p
tu re
llu 'ir sen
se o
f m y stery
.
A n d y
ei th is a
p p a re
n tly
fu im
- d
rtiin ,
m a in
stre a m
(ire
g o
- ria
n
c h
a n
t su
n g
b y th
e m
o n k s
o f S
a n to
D
o m
in g o
d e S
ilo s seem
s to h
av e stim
u la
te d
a sen
se o f fascin
atio n a m
o n
g th
e g
e n
e ra
l p n b lic
at least a s g
re a t a
s (if n o
t g re
a te
r tb
a n
) th
a i
g e n
e ra
te d
a m
o n
g th
e c
o g
n o
sc e n
ti by
P e re
s's p e rfo
rm a n
c e s. P
ro m
o tio
n a
n d
p u b licity
, d
e sig
n e d
to stim
u la
te
su cb
•̂ ales.
h av
e
n o
d o
u b
t p av
ed
tb e
w a y .
A c
a ta
lo g
u e fo
r a t..D
. m a il-o
rd e r
b o
u se
claim s
th a t
" tb
e m
y ste
rio u s,
so o
th in
g a n d
p
u re
so
u n
d
o f
G re
g o
ria n
c h
a n
t n e v e r g
ro w
s o ld
"; th e lin
e r n
o te
s o f th
e -\n
g el c
o m
p ila
tio n
calls th e n
itisic "p
o si-
ii\ciy
h y p n o tic
to
m o
d e rn
e a rs." S
u ch
sia le
m e n
ts b
e a r
a n
o ta
b le
sim
ilarity ' to
tb c ic
m a rk
s w ith
w b ich
H iley
e x p re
sse d
h is e
n ih
iisia sm
lo
i' P e re
s's e so
te ric
O ld
R o m
a n .
T h
e .sim
ilarity m
ay h
e lp
n s to
u n
d e rsta
n d a
n im
p o
rta n
t fe a tu
re o
f th e
w h o le
p h
e n
o m
e n
o n o
f c h
a n
t, tb e sig
n if-
ic a n c e o
f w h ich
is le v e a le
d n
o t so
in u
c b
in reco
i'd sales a
s in w
h at w
e m
ig h t call,
foi* lack
o f a
b e tte
r w o rd
, tb e d
isc o u rse
a b o tu
th
e m
tisit. F o r w
h a te
v e r its m
o d
e of
re p
ie sc
n ta
tio n
. "c
h a n t"
is alw
ay s d
e -
lin e d in
larg ely
tb e sa
m e te
rm s, as a
m u -
sical p
ra c tic
e
o titsid
e th
e m
a in
stre a m
. "C
h a n t," in
a w
o rd
, is e x
o tic
. T h
e a
p p e a l
of th e m
u sic
lies in its o
th e rn
e ss.
O n m
y c
o p
\ o f th
e A
n g el c
o m
p ila
tio n
I n o
te d a
seal a iflx
e d to
tb e c
e llo
p h
a n
e w
ra p p e r w
h o se
slo g an
se
e m
e d to
g u a r-
a n
te e (h
e m
u sic
's stra n
g e a ttra
c tio
n . It
r e
a d
, "1
1 It.
IN T
K R
N .V
n O
N .M
. P H
E N
O M
E N
O N
IR O
M S P .A
JN !"
T h
is, to
o , p
ro m
o te
d a
se n se
o f th
e e
x o
tic , a
s if S
p a in
, so m
e -
w h
e re
o n
th e
o th
e r
sid e o f tb
e w
o rld
, still c
o n jtire
d u
p im
ag es o
f C a rm
e n
in th
e p
o p
tila r im
a g
in a tio
n , a
n d
b e n
c e c
o n
tin -
u ed
to
re ta
in so
in e tb
in g o f its sta
tu s a
s an
"t)tb er." (W
lio c
o u
ld im
a g in
e a
stic k e r
a d v e rtisin
g
" I H
E
IN T
E R
N .A
T IO
N A
L P
H F
-
xoM iN
O N
FR O
M E
N G
L A
N D
!"?) A
n o
th e r
ic c o
rd in
g , h
o w
ev er, sp
elled o
u t th
is c o n -
d itio
n ev
en m
o re
d ire
c tly
, a d
isc c
a lle
d H
m x ie
iily P
e a
c e , o
n e o
f th e c
o u
n tle
ss sp in
- o ffs
tb a t
b av
e a
p p
e a re
d <m
th e m
a rk
e t
sin c e tb
e re
le a se
o f A
n g e l's
C h a n t.
L ik
e all sn
ch p
arasitical p ro
d u
c ts, th
is re c o rd
- in
g sh
a re
d a
n tim
b e r o
f o b v io
u s fe
a tu
re s
w itb
tb
e A
n g el
c o
m p
ila tio
n o
n w
h o se
b ack
it w as rid
in g
. B esid
es th e re
q u
isite h eav
en ly
ic o
n o
g ia
p h
y o
f th e ja
c k
e t illu
s- tra
tio n
, it c a m
e w
ith tb
e e
x p
e c te
d se
t o f
v ery
u n sc
h o la
rly lin
e r n
o te
s tb a t re
c o
u n
t all th
a t is n
ew a
n d
w o n d e rfu
l a b o tit th
is o ld
m u sic
, tex ts d
e sig
n e d to
g tia
ra n
te e a
p la
c e fo
r c h
a n
t in
th e N
ew A
g e .
T h
e n
o te
s fo r H
e a v e n ly
/* m
/r c o
n c lu
d e d
w ith
th e fo
llo w
in g
ju d
g m
e n
t: "O
n ly
th e S
u fi
tn y stics o
f Islam a
n d
tlie ir
m e sm
e riz
in g
Q aw
w ali
m u sic
a p
p ro
a c h
th e
a tm
o -
sp h
e re
o f d
e v o tio
n a l a
n d
sp iritu
a l d
e p
th [o
f G re
g o ria
n c
h a n
t]."
C all it h
y p e ; b
tit it is h y p e w
ith a
fairly lo
n g h isto
ry .
Its h
isto ry
b e g in
s a ro
u n
d 183(1
in F
ra n c e , a
t a m
o n
a ste
ry so
m e d
is- ta
n c e fro
m
P a ris,
in th
e tin
y v
illag e o
f S
o lesm
es. H e re
, a
sm all
c o
tn m
n n
ity o
f m
o n k s
s e t o
u t to
re sc
u e th
e leg
acy o
f S
ain t
B e n e d ic
t a n
d a
ll th e tra
d itio
n s o
f th
e
B e n
e d
ic tin
e
O rd
e r
fro m
th
e c o m
- p
re h
e n
siv e w
reck ag
e o
f tb e F
re n
c b R
ev -
o ltitio
n . T
h is in
c h
id c d
re
sto rin
g a
tra d i-
tio n o f sin
g in
g lo
ih fir
d aily
w o
rsh ip
, a tra
d itio
n
tb a t, a
s tb
ey p
e rc
e iv
e d it,
h a d
b e e n
c o m
p le
te ly
lo
st: v a n ish
e d
fro
m m
o d
e rn
litu
rg ic
a l
p ra
c tic
e s, a
n d
th e re
- fo
re
fro m
m
o d
e rn
c o n sc
io u sn
e ss
sin c e
b e fo
re tb
e so
c a lle
d A
g e o
f E n
lig b
te n -
m e n
t. B
y 1
8 6 0 th
e m
o n
k s'
w o rk
h a d
b e c o
m e
rig o ro
n sly
scien
tific, in
v o lv
in g
b o th
p
a le
o g
ra p
h ic
re
se a rc
h ,
tb e
stu d y
o f n
o ta
tio n
s in
w ritte
n so
u rc
e s, a
s w ell
as e x
p e rim
e n
ta l p
e rfo
rm a n
c e s. T
h ro
u g
h th
is sy
stem atic
la
b o
r tb
e B
e n
e d
ic tin
e s
o f S
o lesm
es e v e n tu
a lly
rev
iv ed
th
e p e r-
fo rm
a n
c e
p ra
c tic
e , y
ie ld
in g a
n a
n c ie
n t
m tisic
n o w
fit fo r m
o d
e rn
c t)n
su m
p tio
n .
W iiat
th ey
p ro
d u
c e d w
as th e re
p e rto
ry w
e k
n o w
to d ay
as (ire g
o ria
n c
h a n
t. M
atiy o
f tb e id
e a s th
a t w
e still
m a in
- ta
in
a b
o u
t th
is re
p e rto
ry —
n o
t least o
f all
a se
n se
o f its
lo n
g ,
c o m
p le
te ly
u n -
b ro
k e n
tra
d itio
n —
c a n b e
tra c e d to
tb is
p c iio
d o f in
te n siv
e stu
d y a n d
p ra
c tic
e ,
w h en
th
e B
e n e d ic
tin e s
re sto
re d
(so m
e m
ig h t
say re
in v
e n
te d
) tb
e tra
d itio
n in
m o
d e rn
p
e rfo
rm a n
c e . H
e n
c e th
e "tra
d i-
tio n
a l" p
e rfo
rm a n
c e
p ia
c tic
e , w
h ic
h , a
s w
e g
e n e ra
lly u
n d
e rsta
n d it, d
e liv
e rs its
tn e lo
d ie
s in slo
w , la
n g u id
p h ra
se s free
o f
rh y th
m
(w h at
1 e
a rlie
r e a lle
d th
e " d e -
fau lt"
o i
m a in
stre a m
m
o d
e o f
p e rfo
r- m
a n
c e ),
is in
a ll w
ays a m
o d
e rn
p ra
c -
tice
im b
u e d
w itb
a
v ery
F
re n
c h a
e s -
th e tic
. It w
as in v e n te
d
b y
n in
e te
e n
th -
c e n
tu ry
F
re n c b
B
e n
e d
ic tin
e s w
h o w
e re
th e m
se lv
e s
se a rc
h in
g
fo r
th e
"o
th e r"
in m
u sic
, th a t
so im
d w
h ich
w o u ld
g iv
e tb
e m
b ack
a sen
se o f C
b ristia
n
sp iritu
- ality
tb
a t
w a s a
ll b u t d
e stro
y e d b y tb
e re
v o ltitio
n .
Y O
U W
IL L N
O T
B E
A B
L E
T O
P
U T
T H
E B
O O
K D
O W
N ..
th e
rc m
.jrL m
lc
s to
ry o
l a n
a s s a s s in
a tio
n
th a t
a lte
re d th
e c
o u rs
e o
i A lia
d lc
L
a s te
rn
h is
to ry
. J im
L c h r.:r
A
K is
c in
^ tin
^ to
o k
.u
io u l
,in im
p o
rt.in l
.in
c ijl.x
ti'c l
c p iM
iJ i'
in Is
r.ic is
n i>
U T
y .
V iv
id
w ritin
j) a
n d
s tu
n n in
g )
re s e a rc
h .
!)i,u i<
: S
.tw y c r
• A
( -
J
L I"
A
l.is c in
a tin
^ a n d
im
p o rta
n t
b o o k .
/A rtlm
r j^
h lc
s in
tje r,
J r.
A
jre a t
M id
d le
L a s t
w h o d
o n e it
w ith
p ro
lo iin
d I
I •
I I
( "
II
v rc
h o s
e v e n
to
d a y .
L e s lie
\^
< \b
N ,,,,.„,,,„.
1
P A
N T
H E
O N
F E
B R
U A
R Y
2 7
,1 9
9 5
T H
E N
E W
R E
P U
B L IC
3 1
T h
e
m o n k s
w ere
su
ccessfu l
in
th e ir
q u est—
so
su ccessfu
l, in
facL
, th
a t
b y
th e
last d
e c a d
e
o f
th e
c e n
tu ry
th
e ir
m o n a ste
ry , h
av in
g a
c h ie
v e d
a sig
n ifican
t re
p u
ta tio
n , b
e c a m
e a
k in
d o
f to u rist site
fo r fin
-d e -sie
c le
ty p es
se e k in
g
sp iritu
a l
th rills. T
h e stra
n g e a
n d e
x o tic
a llu
re o
f th
e ir
c h
a n
tin g
w as
k n o w
n
to
h av
e se-
d u
c e d
m
an y
illu
strio tis
v isito
rs to
th
e m
o n a ste
ry , v
isito rs
su ch
as C
la u
d e D
e- b u ssy
a n d
Jo ris-K
arl H u y sm
a n s, th
e b
ad b o y
o f F
re n
c h
d e c a d
e n
t lite ra
tu re
, all o f
w h o m
im a g in
e d
th em
selv es tra
n sp
o rte
d ,
th ro
u g
h
liste n
in g
, in
to
so m
e
k in
d
o f
m y stic
c o iiin
itu iio
n w
ith a
lo st p
ast.
I t is strik
in g
to c
o n sid
e r a
few o
f th
e
re p
o rts
left b
e h
in d
fro
m sn
ch
v isits,
fo r
th ey
b
e a r
an u
n c a n
n y
re se
m b
la n
c e
to
th e
so tip
y lin
e r n
o te
s a n
d p
ro m
o tio
n a l p
lo y s
th a t a
c c o m
p a n y m
o st o
f th e n
ew c
h a n
t d iscs. H
e re
is a
p assag
e fro
m
an a rtic
le b y th
e F
re n
c h m
u sic
c rid
c C
am ille
B el-
la ig
u e , w
h o
m a d
e h
is o w
n p
ilg rim
a g e , o
n a s s ig
n m
e n
t fo r
L a
R e v u e d
e s d
e u x m
o n d
e s,
in 1
8 9 8 :
F o r th
e n
u n s as fo
r th e m
o n k s, th
e w
h o le
life u
n fo
ld s in
sin g in
g ...
each d
ay an
d sev-
eral tim es a
d ay
at S o lesm
es o n e d
isco v ers
w h at an
a d m
ira b le
, in e x h a u stib
le tre
a stire
o f
p o e try
an
d m
u sic
is th
e liu
irg )' o
f th e
C h u rc
h .
B e ila
ig u e th
e n
g o e s o
n to
d e sc
rib e th
is "tre
a su
re " th
ro u
g h a
m a rv
e lo
u s an
alo g y
th a t im
m e d ia
te ly
tu rn
s rh a p so
d ic
:
E cclesiastical
c h a n ts
a n d
o rie
n ta
l c h a n ts
o ften
re
se m
b le
each o
th e r by
th e ir in
to n a -
tio n
o r c
a d e n c e , by
th e fan
tasy o
r cap rice
i>f th
e ir
m elism
as o r
v o calises,
ab o v e all by
th e ir m
o d e s lliai seem
stra n g e to
u s, a
n d
th a t g
o v ern
b o th
p sain
io d y an
d th
e so
n g
ih e (\ia
b b re
a th
e s o
n h
is iv o rv
flu te. T
h e
ian d w
b cre
trtith ap
y jeared
, w h ere
faitb w
as fn
sl b o
rn , is also
tb e lan
d w
b ere
an e
te rn
a l
d re
a m
flo
ats, an
d
in
tb e
m u sic
o f
faitb sn
m e tb
in g
co u ld
rem
ain
o f
th e
d re
a m
. T
b is g
iv es to
su cb
an d su
ch rcsp
o n so
ry , o
r a n
tip b
o n
, a g
race— a stra
n g e , ev
en e
x o tic
lan g u o r.
T h
e
p assag
e
h a rd
ly
n e e d
s c o
m m
e n
t. It
c e rta
in ly
d
e m
o n
stra te
s, w
ith
a
k in
d o f
e e rie
clarity
, h o w
far
o n
e c o
u ld
ex
- te
n d th
e im
a g in
a tiv
e e
x p
lo ita
tio n
o f th
e O
rie n
t— th
a t
R o n ia
n lic
te n d e n c y , as d
e -
sc rib
e d
b y
E
d w
ard
S aid
, in
w
h ic
h
th e
O rie
n t w
as c o
n stru
e d as th
e site
w h
e re
th e w
h o le
o f a
d e c a y in
g E
tiro p e m
ig h
t b e re
b o
rn .
H e re
, o f c
o u
rse , it is a
reli- g io
n ih
a t is se
e n to
b av
e its re
n a issa
n c e .
b y
c o
m m
u n
in g
w
ith th
e e
x o tic
E ast, in
th e fo
rm o
f a d
re a m
.
S u c h
a p
h a n
ta sm
a p
p e a rs a
g a in
, in a
slig h tly
d iffe
re n t
fo rm
, in a
n o
th e r strik
- in
g p
assag e, th
is o n
e fro
m a
larg ely
a u to
- b
io g
ra p
h ic
a l
n o v el b
y H
u y sm
an s c
a lle
d L
'O h la
U o
r T
h e O
b la
te , o
n e
o f
h is
la te
, "p
io u s" n
o v els, w
ritte n
d tirin
g th
e 189()s
after h
e c
o n
v e rte
d to
C a th
o lic
ism .
T h
e p
ro ta
g o
n ist
o f th
e sto
ry , D
u rta
l, w h o is
d e stin
e d
(lik
e
H u y sm
an s
h im
se lt)
to ta
k e vow
s as a B
e n
e d
ic tin
e , d
e sc
rib e s th
e p o w
er o f th
e c
h a n
tin g at S
o lesm
es w ith
th e fo
llo w
in g , u
n e x
p e c te
d im
ag e:
Y es, I am
b a u
n te
d , as it w
ere, by p
h a n to
m s
o f tb
e p
ast; I b av
e in
o c tila
te d m
y self w
itb tb
e sed
u ctiv
e p
o iso
n o
i th e litu
rg y ; it n
o w
rttn s ib
ro u
g b m
y sp
iritu al v
ein s, an
d I sh
all n ev
er b e
rid
o f
it. T
b e c b tirc
b
serv ices
affeci m
e as m
o rp
h in
e affects a
d ru
g -tiik
er.
A n d ju
st a few
y e a rs la
te r,
in
1 9 0 4 , w
e fin
d an
E
n g lish
w rite
r w h o , v
isitin g th
e m
o n k s at th
e ir p
la c e o
f ex ile
o n th
e Isle
o f W
ig h t, c
o m
m e n
ls in sim
ilar, th
o u
g h
less a p
p a re
n tly
d e c a d
e n
t, te rm
s:
E v er sin
ce tb
e m
o n asiic
C h
tu c b h as b
i-en o p e n lo
ib e p
u b lic
, tb e ie
b as b
e e n
a co
n -
stan t stream
o f v
isito rs to
v esp
ers O
ften tb
e cb
arm o
f th e c
b a n t w
o rk
s v isib
ly o
n tb
e a u d ito
rs lik e a
sp ell.
T h
e se
tex ts rev
eal th e k
in d
o f co
llectiv e
"e n
-c h
a n
tm e n
t" e x
p e rie
n c e d
by a
w h o le
ra n
g e
o f
fm -d
e-siecle
a u
d ie
n c e s
u p
o n
first e n
c o
u n
te rin
g
th is
m y ste
rio u s n
ew m
u sic
. T o
g e th
e r
th ey
o ffer
a v
iew th
a t
m ay
b e g in
to e
x p
la in
, b y
h isto
ric a l a
n a l-
o g y , th
e c u
rre n
t c h
a n
t p
h e n
o m
e n
o n
— th
e
q u ality
o f
fascin atio
n
th a t
C h
a n
t h o ld
s fo r a
u d
ie n
c e s in
o u
r o w
n d
ay . A
n d
y et it w
o u ld
b e w
ro n g . I th
in k
, to e
sse n -
tialize
th e
m u sic
, to
d ra
w
fro m
th
e se
e x a m
p le
s th
e
N ew
A
g e-ish
c o n c lu
sio n
th a t th
e p
h e n
o m
e n
o n
issu es fro
m so
m e-
th in
g
"in " th
e c h
a n
t, a sp
iritu a lity
e m
- b
o d
ie d
w ith
in th
e m
tisic itself. F
o r, w
h ile
e a c h
o f
th e
sto rie
s re
h e a rse
s sim
ilar n
o tio
n s
o f
th e
m u sic
's e x o tic
ism ,
w h at
m a tte
rs is h o w
th e e
x o tic
in each
case is
c o
n stru
c te
d d ifferen
tly .
I h av
e
a lre
a d y
sp
o k e n
a b
o u
t th
e w
ays su ch
ex o ticism
co m
es acro
ss in
th
e
e lite
fo
rm s
o f
c h
a n
t p
ra c tic
e d
b y
c u
ttin g
- e d
g e
"early "
m u sic
ia n s
su c b
as th
e E
n se
m b le
O
rg a n
u m
. B
u t
w h at
a b
o u
t C
h a
n t}
W h a t
is its
ro m
a n
tic
d raw
? T
h e
sitb sta
n tia
l litei'atiu
-e
th a t
h a s
su r-
ro im
d e d th
is re c o
rd in
th e p
ress re ttn
u s
ag ain
a n d
ag
ain to
an asp
ect o f th
e re
- c o
rd in
g th
a t co
n v ey
s, I th in
k , an
im p o r-
ta n
t sen se
o f th
is m u sic
's "o th
e rn
e ss" o
n th
e
p o
p
m u sic
m
a rk
e t.
T h
a t
a sp
e c t
is w
h at
m ig
h t
b e c a lle
d
its p o v erty
. T
h is
p o v e rty
is as m u
c h
a m
u sit;il tra
it as an e c o
n o
m ic
o
n e . W
e a
re re
m in
d e d
ag
ain a n
d ag
ain o f c
h a n
t's d rastically
lim
ite d
m e a n
s o f e
x p re
ssio n . T
h is is a
n u isic
th a t
c o
n ta
in s
n o
h a rm
o n y ,
n o
in
stru m
e n
ta -
tio n
, n
o
b e a t—
m u sic
th
a t
th w
a rts
all a tte
m p
ts to classify
it in te
rm s o
f th e ail-
p u
rp o
se
v alu
e
c a n
o n
iz e d
b y
th e
D ick
C lark
g e n
e ra
tio n
, its "d an
ceab ility
." O n
e a d
v e rtise
m e n
t I
e n
c o
u n
te re
d
w a rn
e d
th a t th
e c
.n .
h a d
"n
o d
ru m
s, n o
g u ita
r.
n o
sy n th
e siz
e r," as if to
p re
v e n t
an y
u n
- fo
rtu n
a te
c o
m p
a riso
n s
w ith
th
e
n o w
p asse
G re
g o
ria n d
a n
c e m
u sic
p ro
d u
c e d
in 1
9 9 0
b y
th e p
o p
g ro
u p E
n ig
m a, w
h o se
sa m
p le
d c
b a n
ts w ere
lay ered
o v er a
p re
- d ictab
ly sy
n th
e siz
e d
rh
y th
m tra
c k
. T
h e
sam e a
d v
e rtise
m e n
t ev
en e x
te n
d e d
th
e ro
ste r
o f
c h
a n
t's n e g a tiv
e
a ttrib
u te
s to
in c lu
d e th
e im
p o ssib
le c b
a rg
e th
a t
th e
w h o lly
m e lo
d ic
re p
e rto
ry c
o n
ta in
e d
"n o
m elo
d y ."
A ll
su ch
d
e sc
rip tio
n s
o f
th e
m u sic
le a d m
o re
o r less d
ire c tly
to a
refiectio n
o n
th
e e
c o
n o
m ic
sta
tu s o
f its p e rfo
rm -
e rs.
T h ey
, after
all, h av
e
ta k e n
a v
o w
o f
p o v erty
— an
act
th a t
in p o st-R
eag an
A m
e ric
a
m u st
seem
m o
re
e x o tic
th
a n
a lm
o st
a n
y th
in g
I can
im
a g
in e .
H e n
c e
th e
n u
m e ro
u s
re p
o rts
o f
oiû S
p a n ish
m o
n k
s' d isd
a in
fo
r w o rld
ly g
o o
d s, th
e ir
"refttsal" to m
a k e a
n o
th e r re
c o
rd ,
th e ir
b e w
ild e rm
e n
t a t receiv
in g
th e p
la tin
tim .
T h
e re
a re
ev
en
sto rie
s (su
rely a p o c ry
- p
h a l)
o f
th e ir
n o
n -re
c e ip
t o f
ro y alties
fro m
K
M I. H
e re
is
an
e x
a m
p le
fro
m
a p
o p
u la
r C
D . m
a g a z in
e :
"T h e m
o n k s o
f S
a n to
D
o m
in g o
d e
S ilo
s a re
g
o in
g a b
o u
t th
e ir
d aily
p ra
y e rs
u n
im p
re sse
d w
ith all th
e fu
ss. T h ey
set a sid
e 9
0 p
e r-
c e n
t o f
th e ir
p ro
fits to
c h
a rity
...." M y
fav o rite
is th
e m
u c h
-re p
e a te
d q
u o
ta tio
n o f
o n
e
su ch
u
n im
p re
sse d
m o
n k
w
h o
re p
o rte
d ly
sn
iffed :
"W e a
re m
o n
k s,
n o
t ro
c k
sta rs."
W h
a t
is sig
n ifican
t a b
o u
t all
th e se
le
g e n
d s
is th
e w
ay in
w
h ich
th
ey
c o n -
stru c t
an
im a g e
o f
p e r-
fo rm
e rs
w h o
sim p ly
d o
n
o t
p a rtic
ip a te
in th
e e
c o
n o
m y
in w
h ich
m
o st
p o
p u
la r
m u sic
is p ro
d tic
e d
. T h is sp
ecialized c
o n -
d ilio
n
se e m
s to
in
v ite
th
e
su g g e stio
n th
a t
c h
a n
t, p recisely
b e c a tise
o f
its im -
p o
v e rish
m e n
t, is av
ailab le
to
m
e a n
in g
s th
a t
c a n
n o
t b e a tta
c h
e d
to o
th e r
so n g
fo rm
s. A
re c e n
t a rtic
le
in
a N
ew A
g e
d ig
e st
c o n firm
s th
is v iew
. "U
n lik
e
th e
n o
n se
n se
ly
rics set to
v ag
u ely
sp
iritu a l
c h
a n
t-in flu
e n
c e d
m n sic
b y
g
ro u
p s
lik e
E n y a
a n d
("o cteau
T
w in
s," its
a u
th o
r m
a in
ta in
s, "t h a n
t h a s m
e a n
in g
." It is th e
in v id
io u s c
o m
p a riso
n to
p o
p th
a t m
ak es
th e
e q
u a tio
n
w o rk
. G
re g
o ria
n
c h
a n
t o ffers
so m
e th
in g m
o re
, a tru
th b e y o n d
th e v e n a l w
o rld
o f
th e m
u sic
in
d u stry
, b e c a u se
th
is m
y ste
rio u s
m u sic
tra
n -
sc e n d s
tb e
c irc
tila tio
n
o f
c a p
ita l.
T h
e m
e a n
in g
o f c
b a n
t, w 'e
a re
to
b e lie
v e , is
b o
rn of a
h o ly
lack .
T h
e
claim
is fu
rth e r
e n
h a n
c e d
b y
re fie
c tio
n
o n
th
e
p la
c e
in
w h ich
th
e m
u sic
d o
e s c
irc u
la te
, th e d
aily ritu
a l o
f th
e S
h a n g ri-la
k n o w
n a
s th e m
o n
a ste
ry of S
a n to
D o m
in g o
d e S
ilo s, in
w h ich
th e
c h
a n
t, w
e
a re
e v e ry
w h e re
re
m in
d e d
, a p
p a re
n tly
h a s
b e e n
g
o in
g
o n
fo
rev er
(as th
e
re c o
rd s
tell u s,
"sev en
tim
e s a
d itv
, e v e iv
d av
o f
th e v ear
... fo
r o v er
3 2
T H
E N
E W
R E
P U
B L
IC
F E
B R
U A
R Y
2 7 ,1
9 9 5
1 ,5
0 0
y
e a rs").
T h
is fact
a lo
n e
w o u ld
H fen
i to co
n v ey
a se
n se
o f p
u rp
o se
q u
ite o
iilsid e
ih f
n o
rm a l
ritu a ls
o f
h u
m a n
fx isle
n c e .
It is a
.sen sib
ility th
a t
c o m
e s
a c ro
ss n ia
tt'ria lly
in
cin
e
e x
tra o
rd in
a ry
fe a ttiie
o f
A n
g e l's
d ig
iia l
re in
a .ste
rin g :
th e tw
en ty
-o d d
c h
a n
ts in th
e a n th
o lo
g y
a re
s|)!i[e
tl to
g e th
e r
to fo
rm
o n
e
lo n g
fifty -sev
en -an
d -a-h
all-m in
u te
tra
c k .
T h
e
c o
n tin
u o
u s
fo rm
p
ro d
u c e s,
as m
a n y
h av
e c
o m
m e n
te d
, a k
in d o
f "w all-
p a
p e
r" m
u s ic
, a n
iin e n d lic
h e M
e lo
d ie
o l'
a sso
rte d
n u isical
a n d v erb
al p
a tte
rn s. I
an i
o b v io
ti.slv n o t
e x
p e c te
ti to
c o
n te
m -
p ia
lc th
e m
e a n
in g
o f th
e se
so n g s in
a n y
c o
n v
e n
tio n
a l
sen se—
a c
o n
d itio
n
th a t is
b o
rn e
o u
t b y th
e
v ery
n
o tic
e a b
le
al> .sen
ce o f
te x ts
a n
d
tran slatio
T is
in
th e
lin e r
n o
te s.
In ste
a d
I am
left
b lissfu
lly free
o f an
y su
ch re
sp o n sib
ility fo
r m e a n -
in g ,
free
to
flo at
a lo
n g
o n
fifty -sev
en m
in u
te s
o l' so
m e th
in g
I d o
n
o t
u n
d e r-
staritl. B
tit th
is c lo
u d
o f
tu ik
n o w
in g
is le
iu ra
i to
th
e a p
p a irn
t efficacy
o f
th e
m trsic. F
u r w
h at is m
o st sig
n ifican
t a b
o u
t th
e
lo n g ,
c o
n tin
u o
u s
tra c k ,
u n
in te
r- ru
p te
d b y b
re a k
s in th
e m
u sical fio
w is,
a g a in
, th e sh
e e r d
iffe re
n c e it re
p re
se n
ts.
F ro
m th
e p
e rsp
e c tiv
e o
f tim e
a lo
n e , it sta
n d
s c o m
p le
te ly
a p
a rt fro
m th
e so
tu id
w o rld
of m
o st
m u sic
, esp
ecially p
o p
m
u sic
, in
w
h ich
so
u n
d s
a re
p ack
- a g e d
fo r c
o n
su m
p tio
n in
n e a t, d
ig e stib
le b y tes. U
n lik
e a
C .D
. o f p
o p
v o cal m
itsic ,
in w
h ich
each
so
n g is in
te n
d e d
to
cap -
tu re
a tte
n tio
n
in
a
d iffe
re n t
w ay,
th e
au ral im
ag e o
f C h a n t is q
u ite
u n ified
: th e
so n g s
sim p ly
ta
k e
u p
tim e—
fifty -sev
en c o
n tin
u o
u s m
in u
te s (w
h at d
o e s th
a t feel
lik e?). H
e n c e th
e d
isc o
ffers u p an
im ag
e o f tim
e , at th
e sam
e tim
e th
a t it seem
s to re
fe i, d
istan tly
, to a
life o
f ritu a l
(so d if-
fe re
n t
fro m
o
u r
o w
n )
in
w h ich
th
e re
is tim e : th
e v
ery th
in g th
at n
o n
e o f u
s p o st-m
o d e rn
s se
e m
s to
p o ssess
in a d e -
q u
a te
a m
o u
n ts.
T h
e a p
p a re
n t
c a lm
in g
e ffe
d
o f llic
d isc
o n th
e liste
n e r can
h e
a sc
rib e d
lo
th
is fact;
I re
la x
sim
p ly
by b
e in
g p
re se
n te
d w
ith an
im
ag e o
f tim e
th a t 1
d o
n o
t h av
e. T h is re
sto ra
tiv e fu
n c-
tio n is a
v a ila
b le
, I w cju
ld a
rg u
e , w
h e tlie
r o
r n o
t o n
e actu
aliy liste
n s to
th e m
u sic.
T h
e re
is e
v id
e n c e to
su g g est
th a t C
h a n
t h a s in
f'aci b e e n
p lav
ed far
less tfian
its p
la tin
u m
sta
ttis im
p lie
s (m
a k
in g
it, as
so m
e c
iilic s h
a \e
c la
im e d , th
e m
o st fre-
q u e n ily
p u
rc h
a se
d a n
d least liste
n e d
to m
u sic
o f o
iu " d
e c a d
e ). B
u t th
is fact d o
e s
little to
u n
d e rm
in e th
e a
p p
a re
n t
sig n ifi-
c a n
c e o
f th e m
u sic
. O n th
e c
o n tra
ry , it
stig g ests
th a t
to
"h a v e "
th e
d isc
is
e n
o u
g h
— th
a t
th e tim
e it o
ffers, sta sh
e d
lik e a g
e n
ie w
ith in
th
e je
w e l
c a se
, lies
ill w ait lo
i- th e liste
n e r, to
b e (a
ile d o
tu w
h en
ev er it is re
q u
ire d
.
A l T
o w
er R
e c o id
s 1
fo u n d
a b
i/a rre
tiitle \<
)lu m
e, p u
b lish
e d b y (fro
m w
h a t
I c a n
te ll)
a N
e w
^ e
p re
ss c a lle
d
B e ll
T o
w e r,
a tin
y b
o o
k w
ith
th e title
C
h a n t:
T h e O
ri^ ris,
F o rm
, a n d
H e a lin
g P
o io
e r o
f G
re g o ria
n
C h
a n
t, Its co v er
a rt,
an
e x a c t
re p
ro d
u c tio
n
o f
th e A
n g el
d isc
, m ak
es it
c le
a r
tu id
e r
w h at
g u ise
th
e
a u
th o
r, K
iith a rin
e l.e
M ee, u
n d
e rto
o k
to w
rite it.
S o m
e w
h e re
n
e a r
th e
m id
d le
o f
th e
b o o k , I c
a m
e acro
ss a p
assag e th
a t n
eatly stm
im a riz
e s
th is
m a g ic
a l
p o w
er asso
ci- atec! w
ith th
e m
u sic
:
C ih
a iit ciiu
.stfs lilt"
"ru sh
o
f e v
e n
ts" to slo
w c lo
w n .
B y ih
i* d
o c
k
lio lliiiig
h
a s
c h
a n
g e d
, y et
w <r h
a v
e a d
ifl'L -rciU
p
e rc
e p
tio n
n t
th e
ih iiitrs th
a t a
ie Im
p p
c n
iiig . S
iid d
fiily tim
e is
g iv
e n
b
a rk
u>
n
s. W
e
h a v
e
e n
o tig
h
a n
d m
o re
lo .sp
a re
.
T h
in k o
f it as th e m
ira c le
o f th
e lo
av es
a n d
fish e s tra
n sla
te d
in
a n
ew . u
p d
a te
d v ersio
n fo
r th e w
o rk
in g w
o m
an . Im
m ed
i- ately
fo llo
w in
g th
is m essian
ic p
ro p
h e c y
c o m
e s a
sta te
m e n
t th
a t g
e ts to
th e re
a l
p o
in t
a b
o u
t w
h at
o u
r re
la tio
n
to
th is
m u sic
m u st b
e , a
.statem en
t th a t, fin
a lly
a d
d re
ssin g
th
e q
u e stio
n o f fa
ith ,
se e m
s to
su g g e.st a
c o
n n
e c tio
n
b etw
een b e lie
f a n d
tim
e —
w h e re
, in
effect, th
e "m
ean -
in g "
o f
th is
m u sic
b
e c o
m e s
d isp
la c e d
o n
to tim
e :
W h
e th
e r o
r n o
t o n
e i;. a
irtic b
e lie
v e r—
a n
d th
o se
w
h o
say
th e y a
ic ,
a l!
th e
lim e
a n
d in
a ll
c irc
tin ista
n c c s,
a re
few
a n
d
fa r
b e tw
e e n
— Is
n o
t o
l' p
rim a ry
im
p o
rla n
c e .
Ill th
e
sa m
e
w av
th
a t
w e d
o
n o
l n
e e d
to
P h
ilip R
o b
in s
N n
r v
e llB
.D e A
tW n
e N
o r v
e llB
\
_ r
a n
G u lf M
o n a rc
h ie
s
M id
d le
E a st S
c h o la
rs^ ^
^
^ ^ rv
iv e th
e
S trik
e O
u t in
/
_, X
O
ilB u stl
P e te
r W .R
o d
m a n
C o -o
p t
o r C
o n
fro n
t
F u
n d a m
e n
ta list
Isla m
?
C h
a r le
s
K r a
u th
a m
m e r
M a
r sh
a ll J
B r e g
e r
In terv
iew .
A m
e ric
a 's
G n a t S
u c c e ss S
to ry
T h e
S e w
B a ttle
fo r J
e ru
sa le
m
P E
T E
R R
O D
M A
N
th in
k s th
e c
h a lle
n g
e
o f ra
d ic
a l Isla
m
b e a rs an
u n
c a n
n y
re se
m b
la n
c e to
th a t
o f S
o v
ie t c
o m
m u
-
n ism
;
A m
e ric
a 's M
id d
le
E a st sc
h o
la rs a
re "o
u t
o f th
e lo
o p
" ;
Q u a rte
rly e d
ito r
D A
N IE
L P
IP E
S b
e lie
v e s
S y
ria 's H
a fiz
a l-A
sa d
is
p la
y in
g a
d o
u b
le g
a m
e .
L e a m
a b
o u
t th
e w
o rld
's
m o st v
o la
tile an
d e
x c itin
g
re g
io n
— su
b sc
rib e
to th
e
M id
d le
E
a st
Q u
a rte
rly .
N a m
e
A d
d re
ss
C ity
M id
d le
iQ u
a ite
n y
O n e-y
ear su b sc
rip tio
n : $
3 5
T X
vo-year su b sc
rip lio
n : $
7 0
S tate
Z
ip
(S a m
e lo
w p
ric e fo
r in stitu
tio n s)
• S
tu d e n t ra
te : $
2 5
C o u n try
C T
N R
M
S ta
d ta
: U
M Ie
E
a si Q
u a
rte rly
'
S u
b sc
rip lio
n S
e rv
ic e s
• P
.O . B
o x
3 0
0 0
•
D e n
v ille
.N J 0
7 8
3 4
O
r c iU
: 1 -8
0 0
-5 6
2 -1
9 7
3 T
h e M
id d
lt E a
st Q u a rtrrly
ii p u b liih
ed in
P h ilid
c lp
h ii b
y Ih
e M
id d le
E u
l F a n
im .
F E
B R
U A
R Y
2 7 , 1
9 9 5
i: N F
W R
rP l'lJI.IC
3 3
su b scrib
e fully
lo th
e leiifts o
f H in
d u i.sin
in o
rd e r
to
e n
te r
ftU ly
in
to
ib e
sp irit
an d
in te
n tio
n
of y o g a
an d
b en
efit fro
m
its h e a lth
tu l
effect o n m
in d
an d b
o d y , so
it is w
itb o
u r p
articip atio
n in
th e life
tif ch an
t. It is n
o t n
ecessary to
b e a
b eliev
in g ("h
ri.stian to
b e a
p a rt o
f th is m
u sic, b
u t ra
th e r it is ii
m atter of su
sp en
d in
g d
isb elief.
It is th u
s a q
u e e r sp
ace o
f su sp
e n
d e d
faith th
a t C
h a n t in
h a b
its, a n o
d d ly
co m
- fo
rtin g in
terv al in
w h ich
, n e ith
e r b
ellt-v -
in g n
o r
d isb
eliev in
g ,
w e re
c o g n iz
e
th e
v ery
e x
p e rie
n c e
w e n ev
er e x
p e c te
d
to fm
d
as so
m e th
in g
alread
y
p o te
n tia
lly lo
st. A
n g el
R eco
rd s,
as it h
a p
p e n
s, re-
cen tly
d e v
e lo
p e d th
is elu siv
e e
x p
e rie
n c e
in to
a n ev
en m
o re
eltisiv e fo
rm ,
a p
ro -
m o
d o
n called
th e "
C h a n t E
scap e S
w eep
- stak
es." T h
is, to o , I d
isco v ered
at T o w
er R
eco rd
s (also
p
e d
d lin
g
(h e
tw o
latest
c h
a n
t sp in
-o ffs: .-V
ngel's o w
n C
h a n t N
o e l,
a n
a n th
o lo
g y o f (C
h ristm
as c h
a n
ts, a n
d th
e
b ra
n d
n ew
w
o rld
-b eat
H ild
e g
a rd
co m
p ilatio
n called
V
isio n , w
h ich
A n g ei is
su p
e rm
a rk
e tn
g
c o
m p
le te
w
ith th
e aid
o f an
8 0 0 -n
tim b er p
h o n e -in
p rev
iew ser-
v ic
e ). T
h e sw
eep stak
es p re
se n
ts a m
o d -
est e n
try b
la n
k , w
h o se
sm all p
rin t c
e rti-
fies th a t, if I w
in , I w
ill fin ally
h av
e th
at tim
e I seek
, "sev en
d ay
s a n d
six n
ig lits"
w ith
th e m
o n k s in
S p ain
. L ik
e all sw
eep -
stak es,
th is
o n
e
is e p
h e m
e ra
l. I
k n o w
I w
o n
't w
in .
T h
e
e n
try
b lan
k
serv es,
th e n
, m erely
to t c
m in
d m
e o
f th is b
lan k ,
th is
lack —
to
re-aw ak
en
m y
d e sire
fo
r w
h at
I lack
, at
th e
sam e
tim e
th a t
it se
n d
s m e b
ack to
th e c
h a n
t as th e o
n ly
re m
a in
in g
m e a n
s o f e
sc a p e . T
h e sw
eep -
stak es
tells m e ,
in effect,
th a t
it is th
e m
u sic
th a t w
ill fin alK
fu
lfill m
y n
e e d
to b
e, as B
a u d e la
ite o
n c e p
u t it, "an
y w
h ere
o u
t o f
th is w
o rld
." C h
a n
t is a
fo rm
o f
sp iritu
al to
tirism .
It p ro
m ise
s th
e co
n -
te m
p o
ra ry
so
u l is a
v irtu
a l reality
, a v
ir- tu
al san ctity
.
T h is
v irtu
ality
p u
ts tn
e
in m
in d
o f
a
sin g tilar
ev en
t th
a t I e
x p
e rie
n c e d
sev
eral tiio
n th
s a g
o : a
liv e
p erfo
r- m
a n
c e by
th e E
n se
m b le
O rg
a n
u m
. T h
e o ccasio
n w
as th e
B erk
eley E
arly M
u sic
E estiv
al. T h
e p lace
w as th
e
re m
a rk
a b
le u eo
-G o th
ic stru
c tu
re at th
e to
p o
f N o
b H
ill in S
an E
ran cisco
called G
race ("ath
e- d
ra l.
B y th
e
tim e
I to
o k
m
y seat,
th e
p la
c e
w as
alread y
filled
w ith
p
e o
p le
, tb
o u
g h
m
o st
w ere
sile
n t,
re a d
in g
p ro
- g ram
s as
if th
ey w
ere m
issals, as au d i-
e n
c e s in
c h
u rc
h e s o
ften d
o . I n
o te
d th
e stro
n g sm
ell o f b
eesw ax
. I h a d
to re
m in
d m
y self n
o t to
g en
u flect
b efo
re e n
te rin
g th
e
p ew
. P
e re
s w
as h
e re
to
p
e rfo
rm th
e c
h a n
ts fro m
th
e
th irte
e n
th -c
e n
tu ry
G ra
d u a l fro
m E
le a n
o r o
f B rittan
y , w
h ich
h e h
a d re
c e n
tly re
c o
rd e d
. B u t fro
m th
e tex
ts a n
d th
e tra
n sla
tio n
s p ro
v id
e d
w ith
th e p
ro g
ra m
, I co u ld
see th
a t th
e E
n sem
- b le
in te
n d
e d to
p re
se n
t th e m
u sic
fo r an
e n
tire
litu rg
y ,
c o
m p
le te
w
ith
re a d
in g
s a n
d m
u sic
fo r th
e O
rd in
a ry
. B
efo re
lo n g , th
e E
n setiib
le O
rg a n
u m
, o u
th a t
e v e n in
g
ju st
a sm
all sch
o la
o f
w o m
en clad
in Io
tig b
lack d
resses, p ro
- cessed
in
, sin g in
g th
e Iiu
ro ii. P
e re
s fo l-
lo w
ed clo
se b
e h
in d
. E
ro m
h is
p o sitio
n in
th
e
p a ra
d e ,
n o
t to
m
e n
tio n
h is
e n -
tirely b
lack c
o stu
m e o f T
-sh irt,
tro tise
rs atid
ja c k e t, h
e c
a m
e d
a n
g e ro
u sly
c lo
se ,
I ib
o u
g h
t, to
im
p e rso
n a tin
g
a
p rie
st; o n ly
ih
e w
h ite
co
llar w as m
issin g . T
h e
th o
tig h
t w
as fle e tin
g ,
in c id
e n
ta l
to th
e p
e rfo
rm a n
c e th
a t h
a d b
arely b
e g
u n
, b tit
so o n it b
e c a m
e clear tb
at th e a
p p a re
n tly
th e a tric
a l
artifice
o f
th e ir
p ro
c e ssio
n a l
w o tild
b e a
c o n siste
n t a
sp e c t o
f th e p
e r-
fo rm
a n c e .
I h e E
n sem
b le
u sed
th e sp
ace o f
th e
fau x -C
io th
ic
c a th
e d
ra l
lik e
a G
o th
ic
c a th
e d
ra l,
o c c u p y in
g
th e
sp ace
a ro
u n
d
th e
a lta
r in
w
ays th
a t
d e tn
o n
- strated
th e ir sen
sitiv ity
to litu
rg ical ftm
c- tio
n s.
P eres
m o
tin te
d
th e
le c te
rn
a n
d b eg
an to
in to
n e th
e G
o sp
el. T
h e E
n se
m b
le in
te n
d e d
, in
sh o
rt, to "do"
a
litu rg
y
th at
ev en
itig
at G
race C
a th
e d
ra l, w
h ile
at th e sa
m e tim
e th
ey w
ere
n o
t "d
o in
g "
a
litu rg
y
a t
all. W e
h e a rd
all th e p
a rts, in
(h e rig
h t o
rd e r, in
a sp
ace th
at w as clo
se e
n o
u g
h to
b e in
g
th e
rig h
t p
la c e .
In d
e e d
, th
e
p e rfo
r- m
a n
c e ,
in
callin g
o n
th e
fo rm
s o f
a "re
a l"
litu rg
y ,
se e m
e d
d e lib
e ra
te ly
to
d e p
a rt
fro m
w
b at
is to
d ay
a
fairly c o
n v
e n
tio n
a l u
se o
f th e c
h u
rc h
as a set-
tin g
fo r
a c
o n
c e rt.
T h
is w a.s a
c o
n c e rt
th a t tre
a te
d th
e c
h u
rc h as a
m e a n
in g
lu l,
fu n c tio
n a l
sp a c e ,
ra th
e r
th ati
ig n
o rin
g its
m e a n
in g
. T h
is c o
n c e rt
p re
se n
te d
a v irttial
litu rg
y ,
o n
e
in
w h ich
w
e w
e re
in v ited
to
p a rtic
ip a te
, b u
t also o
n e tb
a t
re q
n ire
d n
o th
in g
o f us w
h atso
ev er.
It is th e c o
n d
itio n
o f b
e in
g b etw
een tw
o re
a litie
s, b o tli o
f w h ich
a re
o ffered
atid
b o
th
o f
w h ich
a re
d
e tiie
d ,
th a t
c re
a te
s th e d
e sire
d effect
o f th
is tn u sic.
T h
e
e e rie
a n
d
th e re
fo re
p o w
erfu l
ef- fect o
f tb e P
e re
s litu rg
y lay
in its b
e in
g n
e ith
e r h
e re
n o
r n o t h
e re
. It w as n
e ith
e r
a M
ass n o
r n
o t
a M
ass. L .ike
th e v o ice
o f
th e
G reek
c a n
to r
o n
th
e
R o m
an c h
a n
t te
c o
rd in
g ,
th e
m u sic
se
e m
e d
to
strain th
e lim
its o f "a
u th
e n tic
ity " a
t th e
sam e tim
e th
a t it o
p e n
e d
a n
ew a re
n a
o n w
h ich
th
e
"a u
th e n
tic " m
ig h
t b
e re-
im a g
in e d
: in th
e v
irtu a l
sp ace
o f a
n e i-
th e
r/n o
r It is in
th is u
n re
a l sp
a c e th
a t
w e n
o w
fin d c h
a u
t, a n
d th
e id
ea o
f th e
sa c re
d , a
n d o
u rselv
es, at th e e
n d
o f tb
e m
ille n
n iu
m . •
G oing W
ith the F low
B Y
M
A R
K
F O
R D
A n
d th
e S
ta rs
W e
re S
h in
in g
h y
Jo h
n A
s h
b e ry
IFarrar, S trau
s and G
iroitx, 9 9
p p
., $ 1
8 1
H o
te l L
a u
tre a tn
o n
t b
y Jo
h n
A s h
b e ry
(K nopf, 1
5 7
p p
., S 1
3 paper)
J o
h n A
sh b ery
is n o
t, as a ru
le ,
a
p o
e t
m tich
g iv
en
to
p re
- facin
g
h is
c o
tn p
o sitio
n s
w ith
q u
o ta
tio n
s fro m
o
th e r w
rite rs,
p re
fe rrin
g
to p lo
w h is
re fe
re n
c e s
a n
d se
c re
t b
o rro
w in
g s
in to
th
e
te x
tu re
o f
th e
v erse
itse
lf H
is tw
o
m o st
re c e n
t c o
lle c tio
n s,
h o w
ev er,
c o
n ta
in
a
to tal
o f sev
en e
p ig
ra p
h s—
m o
re th
a n fe
a tu
re in
th e te
st o f h
is c o
rp u
s p u
t to
g e th
e r—
d raw
ti fro
m
a n
e c le
c tic
ra
n g
e
o f
so u rc
e s:
T h is h
eart is u seless. I m
ust have an
o th
er. —
T h e B
rid e o
f F ra
n k e n
ste in
B tit in
ih f
so u l o
f m an
th e re
are in
n tim
er- ab
le in
lin itifs.—
T h o m
as T
ra b
e rn
e
S o b
av e I b
e a rd
, a n d d
o in
p art b
eliev e it.
— H
a m
te t
D caib
can
cels all
en g ag
em en
ts.— (-lifto
n W
eb b , in
th e m
o v ie
L a u ra
W e are
all stro n g e
n o u g h to
b ear tb
e m
is- fo
riu n es of o
tb ers.—
L a
R o ch
efo u cau
ld
w o rd
s lik e so
m an
y tin
y w
h eels—
-Jo u b ert
B u t
w h at
b e
d o es,
th e
riv er /
N o b o d y
k n o w
s.— H
o ld
erlin ,
"T h e Ister"
It's a
v ery
A
sh b e ria
n
m ix
; o
u tra
g e -
o u
s slap stick
, m y stical aw
e, sk e p tic
a l in
- te
llig e n
c e ,
c ra
c k lin
g
B -m
ovie
d ia
lo g
u e ,
sa\'vy se
n te
n tio
u sn
e ss, su
rre a list w
it, ro -
m a n tic
w o n d er—
all fig u re
by tu
rn s, a
n d
3 4
T
H E
N E
W R
E P
U B
L IC
F E
B R
U A
R Y
2
7 ,1
9 9
5
