The soprano line shifts from phrases of aching lyricism to chantlike declamations.
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Although these chords are built on a simple chantlike melody, they are essentially atonal.
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The piece begins pensively, with the clarinet playing what becomes a slow, steady, chantlike theme.
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Some of the choral writing is ethereal, unfolding in long-spun lines and chantlike phrases.
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Drawn with feathered lines and in coded colors, the words are individual images that collectively form a chantlike piece of concrete poetry.
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The Elements intone chantlike harmonies, and in the most inspired moments, the male quartet performs complex, pungent passages, with crisscrossing strands of dense yet lucid counterpoint.
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Mr. Sirota, in remarks from the stage, spoke of Beethoven's long, chantlike lines in the middle movement, and the quartet, once there, seemed blissfully lost in its timelessness.
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Extended drones, chantlike repeating phrases, tolling chords, spacious reverberation: Those are meditative sounds, defying fracture or interruption, tuning out the momentary and the trivial, invoking concentration, absorption, ritual and rapture.
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It's a rather small ensemble, but it has the attitude of a much larger one, playing rhythmic, chantlike tunes; up-tempo pieces that fuse bebop and Latin rhythms; and free improvisation.
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The musical language is steeped in Asian elements, ancient modes, pentatonic scales, chantlike choral writing and systems of "just" (what Harrison considered the more natural) tuning, rather than the tempered intonation common to Western music for centuries.
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Björk sings in "primitive-sounding screams," accentuated by a sampled, digitized beat that creates the perception that her voice is "natural" and "is being manipulated by something completely technological."Lysloff, 2003. p.194 Although her voice and the beats give the song its hard techno sound, their methodical rhythm "also evoke chantlike characteristics."Lysloff, 2003. p.
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By 1835, the tune (with its first half repeated) also came to be used for the English recessional hymn "Lord, Dismiss Us With Thy Blessing", and by 1945 it appears to have influenced the melody of the American civil rights anthem "We Shall Overcome", with a close match between the chantlike first half of both tunes.
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The motet, a lyrical piece of music in several parts, evolved from the Notre-Dame school when upper-register voices were added to discant sections, usually strophic interludes, in a longer sequence of organum. Usually the discant representing a strophic sequence in Latin which was sung as a descant over a cantus firmus, which typically was a Gregorian chant fragment with different words from the descant. The motet took a definite rhythm from the words of the verse, and as such appeared as a brief rhythmic interlude in the middle of the longer, more chantlike organum.
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These pieces shifted the focus from Campos-Pons' biographical narrative to the Campos-Pons' and Leonard's interests in exploring the invisible threads connecting disparate cultures in the Americas. Art critic Holland Cotter describes Leonard's composition for the Cuban Pavilion at the 2013 Venice Biennale as a "haunting, rhythmic, chantlike score, secular spiritual music for a New World". Leonard's composition for their performance "Identified" (2016) at the Smithsonian National Portrait Gallery featured Leonard performing with multi-Grammy winning trumpeter Terence Blanchard, a folkloric Cuban ensemble and a jazz orchestra comprising students of the Duke Ellington School for the Arts. Musicians were located in the main atrium, stairwell and galleries and created a series of locations with unique sonic signatures that Campos-Pons wandered thought during the performance.
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In ceremonies involving sandpaintings, the person to be supernaturally assisted, the patient, becomes the protagonist, identifying with the gods of the Diné Creation Stories, and at one point becomes part of the Story Cycle by sitting on a sandpainting with iconography pertaining to the specific story and deities. (McAllester 1981-1982) The lyrics, which may last over an hour and are usually sung in groups, contain narrative epics including the beginning of the world, phenomenology, morality, and other lessons. Longer songs are divided into two or four balanced parts and feature an alternation of chantlike verses and buoyant melodically active choruses concluded by a refrain in the style and including lyrics of the chorus. Lyrics, songs, groups, and topics include cyclic: Changing Woman, an immortal figure in the Navajo traditions, is born in the spring, grows to adolescence in the summer, becomes an adult in the autumn, and then an old lady in the winter, repeating the life cycles over and over.
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