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Music on the Move: Traditions and Mass Media
Author(s): Krister Malm
Source: Ethnomusicology, Vol. 37, No. 3 (Autumn, 1993), pp.
339-352
Published by: University of Illinois Press on behalf of Society
for Ethnomusicology
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ETHNOMUSICOLOGY
Music on the Move: Traditions and
Mass Media
KRISTER MALM THE SWEDISH NATIONAL COLLECTIONS
OF MUSIC
MUSIKMUSEET, STOCKHOLM
he dissemination of music by mass media had already begun at
the start
of this century.1 Due to the restrictive effects of patents
regarding
recording and playback hardware, the music industry was
limited to a few
companies right from the outset. To sell the hardware these

companies also
had to provide the software. The companies soon learned that
there was no
music that could be sold to everybody, even in a small nation.
They had to
release records with musics of different ethnic groups,
geographical areas
and social strata. People would not buy the phonographs and
gramophones
unless there was familiar music available to play back on these
machines.
This led to a boom of recording activities in all continents.
A basic economic law of mass production reads: the more units
of the
same product you can sell, the bigger the profit. This law also
applies to the
music industry. It was inevitable that the production of records
gradually was
reduced to the kinds of music that could be sold in the biggest
market, which
was and still is the United States. This meant a concentration
mainly on
United States' popular music styles. Countries outside the big
markets in the
United States and Western Europe were, in the business jargon,
lumped
together as "the rest of the world." They became on the one
hand places for
extra sales of products produced for the big markets, and on the
other
providers of musical raw material to be processed by the
industry.
Improved communications and the worldwide breakthrough of
transis-

torized amplifiers and cassette technology along with other
developments
around 1970 marked the start of a boom in mass media
dissemination of
music. Within a few years at the beginning of the 1970s, the
technology to
1This article is a revised version of the Charles Seeger Lecture
presented at the annual meeting
of the Society for Ethnomusicology in Chicago on 12 October
1991.
? 1993 by the Board of Trustees of the University of Illinois
339
VOL. 37, NO. 3 FALL 1993
340 Ethnomusicology, Fall 1993
record and play back music became available in the remotest
villages before
they had roads, piped water or public electricity. The
international stars of
the day like The Beatles, ABBA and Boney M became known in
all parts of
the world. For the first time in history the world had a
generation growing
up with a common musical experience added to the specific
experiences
they had within their respective local music cultures. The fact
that music is

readily available almost anywhere has changed lifestyles. For
example, in
Sweden the time spent by the citizens listening to recorded
music qua-
drupled between 1970 and 1976.
We of course must ask, What role has this growing transnational
cultural
experience played in the remarkable developments on the
international
political scene during the past few years? Unfortunately, the
full answer is
beyond the scope of this article.
My research colleague Roger Wallis and I have used the model
shown
in Figure 1 to map out technological, economic, and
organizational
(including legal) developments and their effects on musical life
on three
levels: the international, the national, and the local. The
interaction between
these three levels was also interpreted with the help of this
model.
I will not go into any details regarding the technological,
economic or
organizational developments here; I have done this together
with Roger
Wallis in a number of papers, the latest one presented at the
conference of
the International Music Council in Cologne (Malm 1992) and in

a forthcom-
ing book (Malm and Wallis 1993). I will rather use the three
levels of action-
the local, the national or in some cases regional, and
international level-
to line out some of the effects of these developments on music
traditions or,
to twist the words around, on traditional musics. I will illustrate
my points
mainly with cases from Sweden. I know from the data we have
collected that
I could have chosen almost any other country and I would have
found
parallels to the Swedish examples.
As I mentioned above, one of the most important effects of
these
structural developments is that an increasing amount of music is
dissemi-
nated by mass media-that is, it is being mediated. Before going
into the
specific effects of dissemination by mass media let me sketch a
simplified
framework for the interaction between musics. The patterns of
interaction
can be reduced to four basic categories.
The first pattern is cultural exchange, which has taken place
since
people began to travel (see figure 2). This often occurs on a
person-to-
person level. Traveling musicians in Europe have picked up

ways of making
music by playing with musicians in foreign countries since the
Middle Ages.
In Sweden local musicians have started to play with immigrant
musicians
from Greece or Turkey, and new styles have resulted.
FIGURE 1: Misc Interaction Model
IMPORTANT
FACTORS ORGANISATIONS
International International
conventions associations
and agreements*-- and organisations
MUSIC II
NATIONAL
ORGANISATIONS
Owned by na
? government bodies ? phonogram co
* trade associations * studios
? copyright societies ? pressing plant!
? unions ? cassette dupli(
? music associations and societies * distribution oul
National * religious bodies * publishers
* music instrumi
legislation ~*? music hardwai
National

government implementation
policies
Sponsorship activities
Cultural
climate
Local government
Cultural Music societies
heritage -
tionals
,mpanies
s
catlon
Ilets
snts
re
Transnational music industry Related media and International
(production - distribution) electronics industry technological.
economic and
organisational
developments
International
trends in
music/entertainment

/ /
NDUSTRY OTHER MUSIC MEDIA MUSIC
BUSINESS EDUCATION
AND
TRAINING
(formal)
Subsidiaries of
transnatlonals
* phonogram companies
* studios
* pressing plants
* cassette duplication
? distribution
? publishing
* music instruments
* music hardware
* 'show business'
* promotion
* management
* concert agents
* radio
* TV
* press
* film/video
National
economic
climate
Musical

subcultuies
MUSIC: performance - use - creation - training (informat)
AREAS OF
ACTIVITY
IMPORTANT
FACTORS D_ _ I_ __ I____ _ _I ___ _
__
FIGURE 2: Cultural Exchange (Figures 2-5 drawn by Ake
Eriksson)
The second pattern is cultural dominance (see figure 3). In this
case,
one culture-usually that of a powerful society or group in a
society-is
imposed on another in a more or less formally organized
fashion. Priests who
told Swedish folk fiddlers that the violin was the invention of
the Devil, or
missionaries who had similar things to say in Africa about
drums, are two
obvious examples.
The third pattern is cultural imperialism (see figure 4). Here
cultural
dominance is augmented by the transfer of money and/or
resources, such
as gifted musicians, from the dominated to the dominating

cultural group.
Examples of money transfer are profits made by subsidiaries of
record
companies belonging to the dominant culture, or copyright
money. In the
latter case, despite the notion of exchange embodied in
international
copyright agreements, the money flow is overwhelmingly in the
direction of
FIGURE 3: Cultural Dominance
the base countries of the transnational music industry. Jamaica
has received
very little copyright money from the millions of radio plays
reggae music has
received around the world. Bob Marley even transferred the
right to collect
his copyright income to the United States organization ASCAP.
The three patterns described above were joined in the 1970s by
a fourth
pattern, transculturation (see figure 5). This is the result of the
growth of the
transnational corporations in the field of culture as well as their
world-wide
marketing networks. Transculturation involves the combination
of stylistic
elements from several kinds of music taking place in the
industrial
environment. Thus, transcultural music is an industrial product
without roots

in any specific ethnic group. The transcultural music styles are
cross-
nationally disseminated through a wide range of media. Disco
music as
played by Boney M in the 1970s was probably the first truly
transcultural
music. The process of transculturation aims at the creation of
musical styles
that are the lowest common denominators for the biggest
possible market.
343
FIGURE 4: Cultural Imperialism
Today all four basic cultural exchange patterns exist side by
side and
intermingled. An increasing number of national and local
musics pick up
elements from transcultural music. Also more and more national
and local
musics contribute features to transcultural music, or as the
industry labels it,
World Beat or World Music.
What is then the role of the mass media in these processes of
change?
I can see two main kinds or patterns of impact. The first one has
to do with
the processes that take place when music meets the mass media
system-
that is, when the music becomes mediated. Roger Wallis and I

coined the
term mediaization to denote the process in which a music is
changed
through interaction with the mass media system (Wallis and
Malm 1984:278-
281).
Mediaization has many aspects. The recording studio is a very
different
environment from the live scene with its direct interaction
within the group
of performers and/or between artists and audience. The process
whereby
music is fed through the recording studio and a distribution
system involving
radio broadcasts, disc jockeys and other gate-keepers, record
shops, and so
forth, changes and shapes the musical tradition involved.
In the studio environment feedback from the media system and
market
hits the performers directly. Here they are confronted with
record producers,
microphones, multitrack and digital technology, new kinds of
instruments,
sampling, and so on. Interestingly, performers of traditional
musics quite
FIGURE 5: Transculturation
Kultur 1 Kultur 2 Kultur 3 Kultur 4 Kultur 5

quickly learn how to handle the machines they happen to
stumble on in the
studio. They are of course helped along by technicians and
professional
session musicians. For example, about 1980 the popular
Tunisian singer and
musician Zoubaier discovered a syntheziser in a recording
studio and almost
immediately understood that this could facilitate his work at
traditional
weddings. A few years later the syntheziser had substituted for
the mezued
(a Tunisian bagpipe) in a lot of Tunisian bands playing at
traditional
festivities. Soon of course the new keyboard musicians went on
from merely
imitating the mezuedsound to experiments with new sounds,
thus gradually
changing the traditions.
Very soon after the introduction of microphones and electrical
recording
technology Bing Crosby, Whispering Jack Smith, and others
discovered a
new way to change the timbre of the voice. With a microphone
you could
sing softly and intimately. The same discovery is today made by
prayer
callers in remote villages of the Arab world as they try to make
work easier
345

through the use of cassette recorders and public address
systems. Their style
of singing has been changed in very much the same way as that
of the United
States' popular singers.
A quite interesting mediaization incident happened recently in
Sweden.
A musician belonging to the Wagogo people of central Tanzania
came to
Sweden alone. When I first met him in 1973 in the village of
Buigiri in the
Dodoma region, he was a young boy well versed in traditional
music. He
started to play Swahili pop music in the mid-seventies and
learned to handle
electric guitars and keyboards. He also made a few recordings
in simple
studios in Nairobi. In Sweden he was for the first time
confronted with a
modern studio and its equipment. He picked up the possibilities
of this
environment at an amazing pace. In just a matter of two days he
had recorded
five pieces applying the potential of the studio to his Tanzanian
musical
heritage, singing and playing all the parts himself. He was quite
happy to be
able to put together music that in a traditional context would
have required
quite a big group of performers. The result was a music that
basically is
stuctured like traditional Wagogo music, but with new sounds
such as
sampled and electronic drums, synthesized bass and computer-

generated
glissandi.
In the mid-eighties, Swedish popular dance bands discovered
that
computers could do a lot of their work. These bands play at
dance halls and
hotels, in some seasons every night of the week. Their musical
style,
containing a number of standard melodic phrases, sounds, and
rhythmic
patterns, developed during the early 1960s and has not changed
very much
since then. Now these bands have all the basic patterns along
with the special
patterns and gimmicks for specific tunes programmed into a
computer. They
still hold their guitars and horns, but they don't play them in the
traditional
way any more. They just use them to feed the computer with
information
on how to execute the computer sound files. This means they set
the tempo,
some of the phrasing and so forth. The singing is still a live
performance. The
musicians now can concentrate more on the singing since they
don't have
to do as much with their hands as they used to.
The technological knowhow created through the traditional
Swedish
dance bands' computer use laid part of the foundation of the
music of the
Swedish group Roxette. This group is a very efficient industrial
music-
making unit with only two members and a lot of computer

power. Roxette
has reached the top American pop music charts a number of
times during
the past years.
Another common feature of the mediaization process is that
textual
content is changed. This has happened to many traditional
musics. The
process has two main components. If the performers of a
traditional music
want access to the broadcasting media, the gate-keepers want
the lyrics to
comply with generally accepted public speech behaviour. This
means no
Music on the Move: Traditions and Mass Media 347
offensive language, nothing obscene, and no odd political
statements. The
other component is the record producers' ambition to reach an
international
audience. Thus all allusions to local incidents and conditions in
the lyrics
must be eliminated. A notable case is Trinidadian calypso which
had texts
with an exclusively local content. As long as calypso for the
international
market was just covers by people like Harry Belafonte, the
original texts
needed only slight changes to be more comprehensible to an
international
audience. This did not affect the style of calypso in Trinidad.
When some of

the original Trinidadian calypsonians, like four-times calypso
monarch The
Mighty Duke, were launched on the international market both
the musical
style and the content of the text were affected. The calypso beat
was
influenced by soul music and changed into soca-that is, soul
calypso. The
tempo increased, and the local content of the lyrics was changed
to simple
exclamations about the happiness of being at a party. The most
common
word in soca texts of the 1980s must be "party," and now it has
no reference
to political parties.
References to the record business in calypso and soca lyrics
increased,
mirroring the new situation. Quite a few calypsos concern
cassette piracy
and the end of record pressing plants in Trinidad. Texts
referring to the life
and conditions of the singer himself are also a sign of the
gradual isolation
of the professionalized performer from everyday life that comes
with
mediaization.
During the past few decades many local music traditions have
been
integrated into the media output and gradually mediaized. This
means that
these musics go through a process whereby they can compete
and perhaps
survive in the media environment. At the same time they are
running the risk

of being sucked into the transculturation process and losing
their specific
properties, ending up as a component in some "world music"
style.
But dissemination on recorded media has also given music
traditions
another kind of chance to survive and develop. This brings us to
the second
main pattern of change through the impact of mass media. With
media
distribution a music, at least as sound structure, is freed from
the boundaries
of time and space. This means that a certain kind of music can
suddenly start
to influence what happens in a time and place very distant from
its origin.
One may say that this has been going on since the notation of
music was
invented. A sound recording, however, carries a lot more
information about
a music style than notation does, and can be decoded by anyone
with
playback equipment and without the painstaking process of
learning how
to read and write music. With music video clips and video
documentaries,
often supplemented by printed matter, the amount of
information that is
mediated grows.
The movement of musical sound in time and space is a kind of
transplantation of music. The transplantation processes become
more and

more visible as the years pass. Transplantation results from the
following:
(a) the amount of available recorded music grows, (b) access to
recording
and playback facilities increases all over the world, and (c)
networks are
created between different music traditions due to better
communications
nationally and internationally. These networks can be formal
like organiza-
tions and fan clubs. They can also be rather informal or linked
to extra-
musical activities like tourism.
The first musics transplanted through media dissemination were
Afro-
American musics like jazz and blues that were close to the
strongholds of the
music industry. And when I say "transplanted" I mean that these
music styles
not merely influenced other musics, but actually were copied in
detail by
musicians in distant places like Sweden, where the process was
already
apparent in the 1930s.
A jam session with trumpeter Thore Erling, tenor man Silas
Gbrling and
some other Swedes in 1936 shows that these Swedish musicians
were able
to play idiomatically correct jazz music of the mid-1930s
(Jederby et al. 1936).
Thus, jazz music had moved from various local levels to the

U.S. national
level in the 1920s and onto the international level with the
swing era in the
1930s, and then to the national and even local level again in
countries like
Sweden. Most of the time copying also leads to changes. Ten
years after this
recording Swedish musicians like Stan Hasselgard and Lars
Gullin had
developed a Swedish sound in jazz which the music industry fed
into the
international scene.
This movement of music from the periphery to a center and
from this
center again to other points of the periphery is of course
nothing new. It has
happened time and time again within the patterns of exchange I
described
before. But the. speed of this process and the number of points
on the
periphery affected has in the past decade increased with satellite
and other
cross-national mediation of music in a way that amounts to a
quantum leap.
The number of possible variants of this process have also
grown, and
the main direction of influence can vary. It can be mainly from
the national
to the local level. For example, radio and television has been
used a lot in
the Soviet Union, Eastern Europe, and a number of Third World
countries
to establish musical styles sanctioned by the central government
on the local

level. There are also more and more incidents of music moving
from one
local community to another. In Belgium and France people
perform specific
styles of Swedish fiddle and keyed fiddle folk music. In
Stockholm we have
quite a few groups playing batucada from Rio de Janeiro, Cajun
music,
Trinidadian steelband, and many other kinds of music.
The samba groups and steelbands have also brought with them
the
carnaval context of their music. A decade ago there were no
carnivals in
Sweden. Around 1980 the first carnivals were arranged in a few
towns. Last
year carnivals took place in more than a hundred towns and
communities
in Sweden. Very few of the performers in the carnival bands
have actually
visited a carnival in Port of Spain or Rio. Their information
comes from the
media.
The flow of mediated music styles directly from one local level
to
another is a significant development. But the most significant
development
during the past decade is that direct communication between the
interna-
tional and the local level has rapidly increased. The general

pattern used to
be that an international music was first launched on the national
level via
subsidiaries of international record companies, national
broadcasting media
and educational systems. After passing the national level it
diffused into the
local level. This pattern is no longer the main one. It has been
broken by
transborder satellite broadcasting, cable systems, community
radio and
television stations, and the effective distribution of
international hit music on
the local level carried out by agents and cassette pirates in most
countries
where satellite dishes are not that common. Small local radio
and television
stations frequently, legally or illegally, take their music from
satellite dishes.
In some cases government television companies have taken most
of their
music video clips off the dishes. When the question of copyright
is brought
up with government officials, they argue that nobody in their
country asked
the transborder broadcasting companies to send the music into
their national
airspace. They say: "If they don't want us to take it, they should
keep it out
of our airspace."
The international and transcultural musics set standards for
local
musicians in different ways. Some young aspiring musicians
who dream of
world fame will try to copy the styles of the superstars. Others

will opt for
a local or national career and may try to blend international
styles with their
local styles. The result is an increasing amount of what might
be called
"media music hybrid styles" on the local level. In Sweden we
have many of
these hybrid styles. There are rock groups singing in the South
Saami
language which is only spoken by some thousand persons. Thus
the status
of international rock music is used to keep an endangered
language going.
Another example is the Swedish musician Peps Persson singing
reggae in a
local Swedish dialect (Persson 1975).
When music is transplanted over time one immediately comes
across the
phenomenon of "renewal." All over the world young musicians
searching
for their roots dig up old recordings and try to revive kinds of
music that may
not have been played for decades. In some cases this even leads
to a kind
of musical fundamentalism. Some revivers of a style copy the
recordings in
detail and are very intolerant of any changes. Thus they are
petrifying styles
which in living tradition many times had a lot of leeway for
variations.
Sometimes unique stylistic traits are exaggerated in a way that
has been

termed "mannerism." In the folk fiddling revival of the 1970s in
Sweden,
recordings of certain local fiddlers became the norm for a lot of
young
fiddlers, who in many cases adopted a purist attitude.
The cases of transplantation of music that are most dependent
on the
media are those over both space and time. Again I can mention
a few
Swedish examples. In the 1950s quite a few bands playing New
Orleans jazz
started in Stockholm. Many of these are still active, and new
ones appear on
the scene every year. Another example is the case of the
balalaika bands that
were established in several towns in Sweden during the 1970s.
They were
and are playing in styles used in the Soviet Union in the 1940s
and 1950s.
Perhaps these Swedish groups will soon be the only ones
carrying on this
musical tradition.
There are also groups specializing in the music of certain
musicians or
orchestras. For example one Swedish band plays the music of
the U.S. Luis
Russel big band of 1928-29. The style and repertory have been
copied from
records (Kustbandet 1988). According to jazz specialists, a
similar band can
hardly be found in the U.S. Another band plays the music that
was played

in Martinique and Guadeloupe in the 1920s (Sumpens
Swingsters 1984). Its
traditional Creole style of clarinet playing is hard to find in the
French West
Indies today.
Thus at the same time that new musics are created out of new
conditions,
traditional styles can be kept alive by an international network
of specialized
performers spread out sometimes quite haphazardly around the
world.
When studying local musics in the future we may also have to
look for
performers of older types of this music not only in countries to
which people
from the community in question have migrated, but also in
places to which
the recordings of the music may have migrated. Perhaps young
performers
from Guadeloupe wanting to revive old local performing styles
in the future
have to come to Sweden to study how the Miller-Albert system
Creole
clarinet is played.
We will also see more cases of musical round trips like the one
that
happened when jazz went to Sweden and returned to the United
States, or
when the Caribbean music created by the slaves from Africa
then returned
to Africa on records and caused the emergence of high life and
Congolese
pop music, which in turn at the beginning of the 1970s returned
to the

Caribbean and was eagerly devoured by young musicians
seeking their
African roots.
An important input into the rap and hip hop music of today
came from
Jamaican disc jockeys who did "toasting overdubs," speaking
rhythmically
over a recorded foundation, usually a remixed "version" of a
tune without
the soloists. Now the rap and hip hop music has made its way
back to
Jamaica.
All the processes I have sketched in this paper overlap and
interact with
each other and with other processes of change. Sometimes there
are synergy
effects, other times they cancel each other out. At this point
Charles Seeger
would probably have summarized the situation with a big
diagram describ-
ing the processes taking place when music traditions and mass
media meet.
I'm not quite ready to do that yet.
We have seen that the media both can contribute to the
safeguarding of
music traditions and to their remodelling or even destruction.
The media also
constantly contribute to the emergence of new traditions. The
increased

direct interaction between international and local level means
that govern-
ments and other actors on the national level have lost a lot of
their power
to influence developments through policy making. In this
situation the
commercial market forces may take over completely and we can
end up with
ONE PLANET-ONE MUSIC, as the motto of the MTV music
video channel goes.
Given this situation, I think it is very important to boost the
informal
international networks between music organizations and
individual enthu-
siasts active at the national and local levels. These networks are
today the
most important agents for spreading music traditions that are
not part of the
commercial system. The enthusiasts and their networks are the
only
guarantee that at least some music traditions can live and
develop according
to conditions laid down by social, phsycological and physical
needs and not
only according to conditions laid down by the market.
As I have shown, media both preserve and change music
traditions. I
will give you a last Swedish example that illustrates the more
and more
common phenomenon that the same individual can take part in
both the
preservation and the changing of a tradition. The young
musician AsaJinder
plays the unique Swedish instrument nyckelharpa, the keyed

fiddle. At
sixteen she won the highest Swedish award for performance of
traditional
music from Uppland, the region where she grew up. She also
performs on
the same instrument, but with added electronic facilities.
I hope that young people like AsaJinder who can master both
traditional
ways of making music and the world of electronic media will
get a chance
to set the scene for future traditional musics, rather than the
music machines
of the industry.
References
Jederby, Thore, et al. 1936. "I Can't Give You Anything but
Love." Thore Jederby "Jamgrupp."
Sound Test Sonora Studio, Stockholm, September 1936. Issued
on Caprice CAP 2010,
Stockholm 1982.
Kustbandet. 1988. The New Call of the Freaks. Stomp Off
Records. SOS 1178. Stockholm.
Malm, Krister. 1992. "Local, National and International Musics:
A Changing Scene of Interac-
tion." In World Music-Musics of the World: Aspects of
Documentation, Mass Media
andAcculturation, edited by M. P. Baumann, 211-17.

Intercultural Music Studies 3.
Berlin: International Institute for Traditional Music.
Maim, Krister, and Roger Wallis. 1992. Media Policy and Music
Activity. London: Routledge.
Persson, Peps. 1975. Hog Standard. Peps' Blodsband. Sonet SLP
2572. Stockholm.
Sumpens Swingsters. 1984. Valse d'amour. Swamp Records
SWLP 834. Stockholm.
Wallis, Roger, and Krister Malm. 1984. Big Sounds from Small
Peoples: The Music Industry in
Small Countries. London: Constables.
Article
Contentsp.339p.340p.[341]p.342p.343p.344p.345p.346p.347p.3
48p.349p.350p.351p.352Issue Table of
ContentsEthnomusicology, Vol. 37, No. 3, Autumn,
1993Volume Information [pp.473-477]Front Matter [pp.i-
iv]World Music and the Popular Music Industry: An Australian
View [pp.309-338]Music on the Move: Traditions and Mass
Media [pp.339-352]Analyses and Interpretations of Chinese
Seven-String Zither Music: The Case of the Lament of Empress
Chen [pp.353-385]Drone, Melody, and Decoration--Paradigm
Lost [pp.387-405]Current Bibliography, Discography, and
Filmography [pp.407-427]Book Reviewsuntitled [pp.429-
431]untitled [pp.431-433]untitled [pp.433-434]untitled [pp.435-
448]Recording Reviewsuntitled [pp.449-452]untitled [pp.452-
465]untitled [pp.465-467]untitled [pp.467-469]Back Matter
[pp.471-471]
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
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ig
s
u
p
th
e
b
ab
y
a
n
d
,
re
tc
h

in
g
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slak
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h
is
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r.
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e
th
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clam
b
ei s in
u
) th
e
b

ab
y
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rav
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as
rain
falls
fro
m
th
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g
o
n
h
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ex
p

o
sed
h
e
a
d
. C
d
ie
re
tu
rn
s, b
lo
o
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p
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o
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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
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e
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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
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o
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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
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re
is a

stab
at a
th
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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
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s
m
ales
a
n
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th
e
c
o
n

d
u
c
t o
f m
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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
lie
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-
iiciy
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
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iv
e
tb
e
m
b
ack
a
sen
se

o
f C
b
ristia
n
sp
iritu
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ality
tb
a
t
w
a
s a
ll b
u
t d
e
stro
y
e
d

b
y
tb
e
re
v
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ltitio
n
.
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T
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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
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e
c
a
d
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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
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v
e
d
a
sig
n
ifican
t
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p
u
ta
tio
n
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e
c

a
m
e
a
k
in
d
o
f to
u
rist site
fo
r fin
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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
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e, p
u
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lish
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d
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y
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m

w
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t
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N
e
w
^
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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:
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h
e
O
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p
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th
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l.e
M
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rite
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th
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id
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o
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b
o
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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
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lliiiig
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s
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h
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n

g
e
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n
t
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ih
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a
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Im
p
p
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n
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iid
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fiily
tim
e
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g
iv

e
n
b
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rk
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n
s.
W
e
h
a
v
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e
n
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tig
h

a
n
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m
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a
re
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in
k
o
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e
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w
in

g
th
is m
essian
ic
p
ro
p
h
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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
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t
w
h
at
o
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r

re
la
tio
n
to
th
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m
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sic
m
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e
, a
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en
t th
a
t, fin
a
lly
a

d
d
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ssin
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th
e
q
u
e
stio
n
o
f fa
ith
,
se
e
m
s
to
su
g
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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
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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
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in
a
ll
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irc
tin
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n
c

c
s,
a
re
few
a
n
d
fa
r
b
e
tw
e
e
n
—
Is
n
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o

l'
p
rim
a
ry
im
p
o
rla
n
c
e
.
Ill
th
e
sa
m
e
w
av

th
a
t
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e
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P
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lf M
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M
id
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st S
c
h
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^
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^
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rv
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S
trik
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r W
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F
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m

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list
Isla
m
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C
h
a
r
le
s
K
r
a
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th
a
m
m
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M

a
r
sh
a
ll J
B
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g
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r
In
terv
iew
.
A
m
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ric
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's
G
n
a
t S

u
c
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ss S
to
ry
T
h
e
S
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w
B
a
ttle
fo
r J
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ru
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P
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E
R
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th
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b
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m
b
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f S
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m
m
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;
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m
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id
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le
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a
st sc
h
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rs a
re
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Q
u
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rly
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D
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L
P
IP
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b
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lie
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L

e
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b
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w
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m
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tile
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x
c
itin
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—
su
b
sc
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M
id
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E

a
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Q
u
a
rte
rly
.
N
a
m
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A
d
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re
ss
C
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M
id
d
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iQ
u
a
ite
n
y
O
n
e-y
ear su
b
sc
rip
tio
n
: $
3
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T
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vo-year su
b
sc
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n
: $
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ts a
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rin
t c
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fies th
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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
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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

httpwww.jstor.orgMusic on the Move Traditions and Mass.docx

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