DOCSLIB.ORG

Byv. Corzen Auxdobkin the Songs on the Album Were Okay

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Byv. Corzen Auxdobkin the Songs on the Album Were Okay Womanews/May 1991 page 11 Notes Some of the select cuts on this album are: "Deliver Me," "Mud In Any Water," "Sun- face," "Never Known," and "Hot Pork Sand­ wiches." Everyone's Angel is a good album. However I do recommend you read the lyrics. Muungano National Choir Missa Luha Philips Records Missa Luba is a Zairian style mass for a mixed chorus which includes ten folk melodies. The mass starts with the Kyrie, a familiar part of the American Catholic mass but the instrumentation is changed. There is no pipe organ or orchestra. At least not as we know it. The instruments used are shaken gourds, and drums. The song is performed in a call Harriet and response style. It was definitely one of Woman To Man the highlights of the album. The album then East West Records travels through the Gloria, Credo, Sanctus, and Agnus Dei. Then the chorus jam. As the title suggests Woman To Man is a My favorite cut on the album was "Vam- collection of songs about the. love/sex re­ uvamba," a call and response style song lationships between men and women. The about Jesus Christ being on the cross waiting cuts in Woman To Man run the gambit from for redemption. What was the best part of newly found "intense" love and a love that's the song was the women's duets. The har­ dying because she is fed up. monies of the piece were intense. Another byV. Corzen AUxDobkin The songs on the album were okay. I had select cut from the album was "Bwana Ni Compiling my May list of new release was Yahoo Australia problems with the title cut "Woman to Mani," a song about borrowing from neigh­ extremely difficult. Not because of a lack of Women's Wax Works Man." The arrangement was fine. The lyrics bors. The text was taken from Psalms 15:1-2 material but rather the abundance of it. Sev­ After Night Ride Home's focus on relation­ however, were too self depreciating. "Every and 84:1,4 and 10. It is a slow call and eral talented women have albums that are ships, Dobkin's Yahoo Australia was a wel­ woman needs a man to hold. Every man response song with beautiful unison and scheduled for late April, early May releases. come relief. Yahoo Australia is a live record­ needs a woman sometimes," is just one harmonized singing. I'd suggest carefully reviewing the new ing of Alix's performance in Sydney. In her example of the internalized misogamy within If you can get around the religious content release section of your local record store. linear notes. Alix describes the title cut the song. Frankly, I would not waste my of this album you will definitely enjoy the Meanwhile here is some of the new material "Yahoo Australia" as "loud and clear to every­ money on this album. Hearing a woman beg music. I know for some people it might be a released. one who hears Yahoo Australia especially to for a man is not entertainment, at least not hard thing to do but the music is well worth Aussie dykes whose support, enthusiasm, for a feminist woman. Pass this one over. your effort love, boldness, and brilliance made this tour Joni Mitchell exceed my wildest most ambitious expecta­ Night Ride Home tions, an unforgettable commitment to the Geflfen Records new decade." Some statement. I played the It's unusual to find a theme that runs through CD to see if the music lived up to the words. the lyrics of an album. However, Night Ride The title cut 'Tahoo Australia" is okay. It is Home has a theme. It has a strand ofJoni's life as close to a love song as you're going to get that connects the songs. The title cut "Night out of Alix. Her strong voice clearly conveys Ride Home" is one of the strongest links of the passion Alix holds for the land down that chain. "Passion Play" and "Come In under. From The Cold" are also examples of this. Other choice cuts are "Intimacy," a song As usual, Joni's vocal talent and instrumen­ asking how does one get close to a woman, tation were phenomenal. The music ap­ and "Crushes," a Dobkin tune in the genre peared to be a combination of folk and elec­ she's most famous for a musical retelling of tronically created rock rhythms. That is the stories of Lesbian life. These stories of only disappointing aspect of this album it crushed retold with all of their passion and a was too refined. It sounds like the cuts were sense of humor. It's amazing how after all mixed and remixed until perfection. A com­ these years Dobkin can still recreate the puter couldn't have done any better. youthful naivete we all have experienced. The best cuts on the album are: "Passion "Hedda On TV," a piece about Hedda Nuss- Play," "Come in From The Cold," and "The baum, is a feminist analysis of the media cov­ Only Joy In Town." Night Ride Home is a erage surrounding Nussbaum. great album. I just wonder how it will sound Yahoo Australia is another in a long line of live. Dobkin's albums which document Lesbian lives. It's fun, funny, creative, political and strongly lesbian identified. Tanita Tikaram Everybody's Angel Reprise Records Tanita is not known for her vocal talent. Her deep raspy voice leaves much to be desired. She sounds out of breath and in deep depression. However, this is not why you should buy her album. Her lyrics are great. After reading them listening to the songs became much more bearable. I felt I was listening to poetry set to music. I feel the same way about Dillon's work..
Load more

Recommended publications
  • Chorister's Handbook
    Robe # ____ Music # ____ First Presbyterian Church of Ypsilanti 300 North Washington Street, Ypsilanti, MI 48197 The Rev. Keith Geiselman, Senior Pastor Aaron Tan, Organist & Choir Director THE CHORISTER’S HANDBOOK YEAR B/C 6 September, 2009 ~ 20 June, 2010 Revised 26 August, 2009 CONTENTS Welcome ................................................................................. 5 Directory and Assigned Numbers .................................................... 6 Choir Administration .................................................................. 7 Tips for Achieving Awe-Inspiring Processions and Recessions ................. 7 Etiquette and Singing Tips ............................................................. 8 Liturgical Music for the Church Year ............................................ 9 Ordinary Responses ............................................................... 9 Call to Worship ...................................................................................... 9 Kyrie ................................................................................................. 10 Prayer for Illumination ........................................................................... 10 Children’s Response ............................................................................... 11 Acclamation ........................................................................................ 11 Doxology ............................................................................................ 12 Responses for Communion: Sursum Corda
    [Show full text]
  • Eugenio Giorgianni Phd Thesis
    Joyful Resonances: Spirituality and Civic Engagement in the Music of the Congolese Diaspora Eugenio Giorgianni Royal Holloway, University of London A dissertation submitted for the degree of Doctor of Philosophy in Music 2019 1 Declaration of Authorship I, Eugenio Giorgianni, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 20 September 2019 2 Table of Contents Chapter one. Introduction Seke Bien 1.1. Presentation 1.2. Joyful resonances 1.2.1. Kongo musical rites and the empowering other 1.2.2. Slave revolts: the political shift of joy 1.2.3. Dancing cosmopolitanism 1.2.4. The city of joy 1.2.5. Indépendance Cha Cha 1.2.6. Political animation and the joy of the worlds 1.2.7. Les Combattants and the silent nexus 1.3. The research protagonists – places, people, ideas 1.4. Methodology – filming in fieldwork 1.4.1. Music video clips in diasporic circulation 1.4.2. Music video collaborations 1.4.3. Ethnographic music video clip and the politics of invention 1.4.4. Beyond Ethnofiction: music video clip as radical collaboration 1.5. Thesis overview Chapter two. Mulele. Ethnographic encounters through the lens 2.1. A voyage to mikili and conscious music: Mulele’s life experiences 2.2. The way forward. The agency of silence in Congolese diaspora 2.3. Back to Africa. Fluid positioning to avoid ghettoization 2.4. The encounter and the idea of a music video 2.5. More fiyah! Enthusiastic collaborative video making 2.5.1.
    [Show full text]
  • Missa Luba : New Edition and Conductor's Analysis
    FOSTER, MARC ASHLEY, D.M.A., Missa Luba: A New Edition and Conductor’s Analysis. (2005) Directed by Dr. William P. Carroll. 123pp. Since 1964 and the first printed edition of Missa Luba by Guido Haazen, this work has been performed countless numbers of times all over the world. Missa Luba continues to have a large number of performances each year, despite the fact that there is very little research available, and the only published edition is wholly insufficient in producing an authentic performance. To date, the following has not been published in any known academic publications: 1) a biography of Guido Haazen, 2) research into the first choir to sing Missa Luba, 3) a detailed explanation of the collective improvisational nature of the work, and 4) a comparison of the folk melodies used as models to the corresponding sections of each Mass movement. The purpose of this document is to provide a new edition of Missa Luba and an analysis of the work useful to a conductor. The reasons why a new edition is needed and what changes are made to the existing edition will be discussed, along with an analysis, which will cover the work’s historical background, structure, and performance practice concerns. The document will incorporate recent research into this subject, especially that of interviews with Guido Haazen prior to his death in 2004, and a more accurate transcription of the original 1958 recording. Also, significant to this project is a description of the ethnic instruments used in the original performances of Missa Luba and suitable modern substitutions.
    [Show full text]
  • SZTE Religion Culture Society 4 Beliv V4.Indd
    The MTA-SZTE Research Group for the Study of Religious Cul- ture, a research group supported by the Hungarian Academy of Scienses and att ached to the Department of Ethnology and Cultural Anthropology, University of Szeged began its activity on 1st July 2013. It sees itself as situated in the border zone of various disci- plines dealing with social, historical and cultural aspects of reli- gions, the churches, present-day culture and society. It focuses on ethnographical, anthropological, sociological, historical and spir- itual approaches to religious culture, also investigating the chang- Religion th st ing social background, especially in the 19 –21 centuries. SOCIETY RELIGION, CULTURE, The research group operates in a historically Christian (Roman Catholic and Protestant) social and cultural environment with a Culture strong interest in the Jewish and Muslim religious cultures. The multidisciplinarity, inter-religious and ecumenical perspective pro- vides a stimulating environment for the research, making a distinc- tive contribution to both the local and the international academic Society community. In cooperation with theological and religious studies, it strives to carry out its work with a sound historical basis in which theory and practice, empirical facts and their interpretation, histori- cality and normativity are closely intertwined. 4 4 RELIGION, CULTURE, SOCIETY RELIGION, CULTURE, SOCIETY Yearbook of the MTA-SZTE Research Group for the Study of Religious Culture Szeged, Hungary 4 RELIGION, CULTURE, SOCIETY 4 Yearbook of the MTA-SZTE Research Group for the Study of Religious Culture Edited by Gábor Barna and Orsolya Gyöngyössy MTA-SZTEMTA-SZTE RESEARCHRESEARCH GROUP GROUP FOR THE STUDY FOR OF RELIGIOUSTHE STUDY CULTURE OF RELIGIOUS CULTURE Szeged, 2017 Published with the support of the MTA-SZTE Research Group for the Study of Religious Culture and the Devotio Hungarorum Foundation (Szeged) International editorial board: Arne Bugge Amundsen (Oslo), Marion Bowman (Milton Keynes), Adam S.
    [Show full text]
  • Drowned out EN
    ________________________________________________________________________ …drowned out…________________________________________________ S/QU/NC/R --------------------------------------------------------------------------------------------------------------------- …drowned out… is built around four albums, three of which I have stumbled upon in the crates of second-hand record shops, in London. It seeks to illustrate some processes – most of which are unconscious – that feed into clichés and deep-rooted prejudices, mixing ‘superiority’ and ‘condescension’ of the West over the ‘rest of the world’. Those different discographic discoveries triggered the idea of this sound project, which is to bring together these scattered items, or traces of a political and ideological domination attitude as well as of a cultural appropriation mindset. …drowned out… questions those recordings as well as the discourse and rhetoric around them. The underlying ideal of universality and notions of authenticity, folklore, and preservation get shaken by this shift of perspective. Missa Luba (1958) is the first record I picked up. According to the description on the cover, it is ‘a mass sung in pure Congolese style’. The text at the back flaunts both the Belgian priest who wrote the piece and the choir singing it – Les Troubadours du Roi Baudouin1 – while also underlining the absence of any kind of Western influence in the music itself. Released under label Philips (UK, ref. BL 7592, stereo), this record is considered one of the first world music successes. It has become the soundtrack of many films such as Pier Paolo Pasolini’s The Gospel According to St. Matthew (1964) and Lindsay Anderson’s If… (1968). The album cover is also seen in Stanley Kubrick’s A Clockwork Orange (1971), as Alex is wandering in a record shop.
    [Show full text]
  • Celebrating Sacred Rhythms ARIEL RAMIREZ Misa Criolla • Navidad
    557542bk USA 6/11/05 8:31 pm Page 12 Also available on Naxos: Celebrating Sacred Rhythms ARIEL RAMIREZ Misa Criolla • Navidad Nuestra GUIDO HAAZEN: Missa Luba Christal Rheams, Alto • Manuel Melendez, Tenor José Sacin, Tenor • Pablo Talamante, Tenor The Choral Arts Society of Washington Joseph Holt 8.559074 8.557542 12 557542bk USA 6/11/05 8:31 pm Page 2 Celebrating Sacred Rhythms Ariel Ramírez: Navidad Nuestra (1964) Folk Drama of the Nativity, based on the Rhythms and (Photo: Debra L. Kraft) Traditions of Hispanic America Manuel Melendez, Tenor; José Sacin, Tenor; Pablo Talamante, Tenor 18:58 1 La Anunciación (The Annunciation) 2:30 2 La Peregrinación (The Pilgrimage) 3:40 3 El Nacimiento (The Nativity) (José Sacin, Tenor) 3:36 4 Los Pastores (The Shepherds) 2:38 5 Los Reyes Magos (The Three Kings) 2:54 6 La Huida (The Flight) 3:40 arr. GUIDO HAAZEN: Missa Luba (1958) Mass in Congolese Style for Mixed Chorus with Soloist and Percussion (based on an improvisation by Congolese chorus Les Troubadours du Roi Baudouin) Christal Rheams, Alto 15:33 7 Kyrie 2:20 8 Gloria 3:11 9 Credo 4:51 0 Sanctus 2:56 ! Agnus Dei 2:16 (From left): Composer Ariel Ramírez and conductor Joseph Holt attending a Choral Arts Society performance at the Teatro Colón in Ariel Ramírez: Misa Criolla (1964) Bueno Aires, Argentina on 1st August, 2005 Folk Mass based on the Rhythms and Traditions of Hispanic America Manuel Melendez, Tenor; José Sacin, Tenor; Pablo Talamante, Tenor 22:15 @ Kyrie 4:11 # Gloria 6:26 $ Credo 4:36 % Sanctus 2:29 The Choral Arts Society of Washington, ^ Agnus Dei 4:33 5225 Wisconsin Avenue, NW • Suite 603, Washington, DC 20015 Phone: (202) 244-3669 • www.choralarts.org 8.557542 2 11 8.557542 557542bk USA 6/11/05 8:31 pm Page 10 Misa Criolla Conductor’s Note As world music, the chamber choral works featured in this recording are wonderful gems incorporating folk Chorus idioms.
    [Show full text]
  • Legacies of Slavery Stations of the Cross to Mark Holy Week CWM's
    Legacies of Slavery Stations of the Cross To mark Holy Week CWM’s Mission Development Team has produced some reflections which use the pattern of the stations of the cross to reflect on the legacies of slavery. We have adapted the traditonal 14 stations, but hope people will find in these images, words and issues an invitation into the on going Passion of Christ. Legacies of Slavery Stations of the Cross ‘Though he was in the form of God, Jesus did not regard equality with God as something to be exploited, 7 but emptied himself, taking the form of a slave, being born in human likeness. And being found in human form, 8 he humbled himself and became obedient to the point of death— even death on a cross’. Philippians 2: 6 - 8 Legacies of Slavery Stations of the Cross Before beginning the stations you might like to listen to the ‘Kyrie’ (Lord have mercy) in the Congolese setting of the Mass: ‘Missa Luba’ See for example: https://www.youtube.com/watch?v=ToNb-02n3KY Pilate condemns Jesus to die This is the Governor’s Balcony in the slave castle, Elmina, on the Atlantic coast of Ghana. This is the place where the Governor would inspect the women his men had captured in order to select the one he wanted to rape that night. His power was absolute and these women were his toys and after he had abused them he could wash his hands of them and leave them to their fate. Prayer and Quiet: Christ Jesus Lamb of God In the face of your suffering We mourn and lament Bodies, lands and lives Broken for the profit of the powerful, Poured out to the false gods of Empire.
    [Show full text]
  • A Latin Mass As a Symbol for Multiculturalism | Norient.Com 25 Sep 2021 03:28:49
    A Latin Mass as a Symbol for Multiculturalism | norient.com 25 Sep 2021 03:28:49 A Latin Mass as a Symbol for Multiculturalism by Yves Chapuis The Afro Celt Sound System are a musical collective who, in their own words, are a «genuine and positive example of how multiculturalism can thrive and survive in these troubled times». In their work, they try to combine different cultural influences with electronic dance music. Our author discusses a track on their 2018-album, Flight, and shows how a symbol for multiculturalism is based on a colonial product, demonstrating the ambivalence of popular music. The track «Sanctus» by the Afro Celt Sound System was released on their album, Flight, on November 23, 2018. In this album, the Afro Celts equate human flight – in the sense of forced migration – with the flight of birds: «If https://norient.com/index.php/yves-chapuis/latin-mass-symbol-multiculturalism Page 1 of 3 A Latin Mass as a Symbol for Multiculturalism | norient.com 25 Sep 2021 03:28:49 birds move freely, then so must we.» «Sanctus», however is named after and partially based on the «Sanctus» from the Belgian missionary Guido Haazen’s Missa Luba. A Latin Mass in the Congo The Missa Luba is a Latin mass arranged for tenor solo, mixed choir, and percussion in a Congolese style. It was first sung by the choir of the missionary school where Haazen was teaching and has become, for some, a symbol of the greatness of the African continent. However, how «African» is this mass really? Musically, it is based on Congolese folk songs, but the Latin text is a European product and came to Africa via colonization.
    [Show full text]
  • The Role of Guitarist and Musician, Mwenda Jean Bosco, in the Cultural Context of Katanga and the World
    Masanga Njia – Crossroads The role of guitarist and musician, Mwenda Jean Bosco, in the cultural context of Katanga and the world Dissertation zur Erlangung des Grades einer Doktorin der Philosophie (Dr.phil.) am Fachbereich 2 Kulturwissenschaften und Ästhetische Kommunikation der Universität Hildesheim vorgelegt von Rosemarie Jughard aus Klein-Winternheim Klein-Winternheim, März 2012 Gutachter: Prof. Dr. Wolfgang Bender Prof. Dr. Paul Drechsel Prof. Dr. Raimund Vogels Disputation: 18. Juni, 2013 ACKNOWLEDGEMENT First of all I would like to express my gratitude to the Johannes Gutenberg- University of Mainz and Professor Dr. Wolfgang Bender, who is now at the University of Hildesheim, for providing his expertise in ethnomusicology and the occasion to undertake this project. Furthermore my deep-felt gratitude goes out to the many individuals and institutions, who helped me with my research in the province of Katanga, Democratic Republic of Congo. The list is long and it is impossible to name all of them. However some of these individuals stand out and have gone beyond their capacities to accommodate me with their knowledge, time and assistance: The late Didier Kabobo Mwenda, Bosco’s son, who provided me with important information, many documents and photos. While continuing his father’s musical legacy he suddenly died in June 2009, at the age of 35. He will be terribly missed by many of us. I am greatly indebted to the hospitality of Bosco’s son, Murphy, his wife and children; Bosco’s daughters, Fé-Fé and Cathy Mwenda, who all welcomed me to their homes and treated me with great respect and generous hospitality.
    [Show full text]
  • Chór Kameralny Towarzystwa Muzycznego Im. Henryka Wieniawskiego W Lublinie
    DOI: 10.17951/l.2016.XIV.2.59 ANNALES UNIVERSITATIS MARIAE CURIE-SKŁ ODOWSKA LUBLIN – POLONIA VOL. XIV, 2 SECTIO L 2016 PAULINA WOŁOCH Chór Kameralny Towarzystwa Muzycznego im. Henryka Wieniawskiego w Lublinie. Beaty Dąbrowskiej dzieło życia1 The Chamber Choir of the Henryk Wieniawski Music Society of Lublin. The Life’s Work of Beata Dąbrowska W latach osiemdziesiątych ubiegłego wieku w lubelskim środowisku studenc- kim zrodził się pomysł, aby utworzyć nowy zespół chóralny. Działania w tym kierunku podjęto jesienią 1986 roku, a inicjatorami przedsięwzięcia byli studenci lubelskiej Akademii Medycznej oraz Beata i Dariusz Dąbrowscy. Pierwsze próby nowo powstałego zespołu odbywały się w dość trudnych warunkach, chór nie posiadał bowiem własnego pomieszczenia do ćwiczeń ani jakiejkolwiek insty- tucjonalnej opieki. Sytuacja ta zmuszała zespół do podjęcia poszukiwań stałej siedziby, a także instytucji, która sprawowałaby nad nim mecenat. 1 Artykuł jest skróconą i zmodyfi kowaną wersją mojej pracy magisterskiej. Zob.: P. Wołoch, Chór Kameralny Towarzystwa Muzycznego w Lublinie. Monografi a, Lublin 2015, praca magister- ska napisana pod kierunkiem dr Jadwigi Jasińskiej w Instytucie Muzyki Wydziału Artystycznego Uniwersytetu Marii Curie-Skłodowskiej. Część zmian i uzupełnień wprowadzonych wobec treści pracy magisterskiej wyniknęła z faktu, że publikowany na jej podstawie tekst przygotowywany był po śmierci Profesor Beaty Dąbrowskiej, założycielki i dyrygentki Chóru Kameralnego Towarzy- stwa Muzycznego im. H. Wieniawskiego w Lublinie. 60 Paulina Wołoch Dość szybko nowo założonym chórem zainteresowało się Towarzystwo Mu- zyczne im. Henryka Wieniawskiego w Lublinie2 i postanowiło objąć nad nim pa- tronat. Już z początkiem 1987 roku zespół przyjął nazwę Chór Kameralny Towa- 2 Towarzystwo Muzyczne im Henryka Wieniawskiego w Lublinie jest najstarszym stowarzysze- niem na Lubelszczyźnie.
    [Show full text]
  • Os Trovadores Do Rei Baudoin Missa Luba Mp3, Flac, Wma
    Os Trovadores Do Rei Baudoin Missa Luba mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Folk, World, & Country Album: Missa Luba Country: Brazil Released: 1969 Style: African MP3 version RAR size: 1848 mb FLAC version RAR size: 1575 mb WMA version RAR size: 1359 mb Rating: 4.9 Votes: 969 Other Formats: MMF XM AIFF AA ASF AUD RA Tracklist Hide Credits Missa Luba A1 Kyrie A2 Gloria A3 Credo A4 Sanctus A5 Benedictus A6 Agnus Dei Ave Maria A7 Composed By – Arcadelt* A8 Mbali Kule (Gloria In Excelsis Deo) O Jesu Christe A9 Composed By – Van Berchem* Luba Folclore B1 Dibwe Diambula Kabanda B2 Lutuku Y A Bene Kanyoka B3 Ebu Bwale Kemai B4 Katumbo B5 Seya Wa Mamandalamba B6 Banana B7 Twai Tshinaminai Children's Songs From The Baluba B8 Kamiole B9 Katende B10 Kilio B11 Kamuyambi B12 Daina Companies, etc. Manufactured By – Companhia Brasileira De Discos Credits Arranged By, Conductor – Père Guido Haazen Notes On cover written in portuguese: "High Mass in authentic Congolese style including folk songs of Belgian Congo". Made in Brazil - Indústria Brasileira Printed in Brazil Barcode and Other Identifiers Rights Society: B.I.E.M. Other (A-Side Label): AA 08711.1 L Other (B-Side Label): AA 08711.2 L Matrix / Runout (A-Side Runout Groove): 200 - AA - 08711 - 1L - 2 Matrix / Runout (B-Side Runout Groove): 200 - AA - 08711 - 2L - 2 Other (A/B Label): CSPD-PF-001/GB Other versions Category Artist Title (Format) Label Category Country Year BL 7592, P Philips, BL 7592, P Les Troubadours Missa Luba (LP, 12801 L, Philips, 12801 L, UK 1964 Du Roi Baudouin
    [Show full text]
  • African and Afro-American Influences on Christian Popular Music
    Kinga Povedák* AFRICAN AND AFRO-AMERICAN INFLUENCES ON CHRISTIAN POPULAR MUSIC Abstract: The article deals with the development of Christian popular music (CPM). It reveals that the appearance of CPM was strongly influenced by African and Afro-American music from several directions. Musically CPM can be traced back to the Afro-American spiritual, from which gospel music grew, then blues and finally rock and roll, all of which can still be found among the subgenres of CPM. The article also shows how the direct influence of the African American background can also be found behind the folk masses of the 1960s that appeared in numerous parts of the Christian world parallel with the development of CPM. Keywords: Christian popular music, Afro-American religious music, African Christian music, Missa Luba Three encounters As a university student I often listened to recordings by Kimnowak, an alterna- tive Hungarian rock group popular in the 1990s. The first track on their album Fekete zaj [Black Noise] begins with snatches of striking “Sanctus, sanctus” choral music, but I was unable to find out anything about it at the time. My next encoun- ter with the melody was in Lindsay Anderson’s emblematic film If… made in 1968. If anything, the melody was even more powerful and catchy in the English New Wave film, a real earworm. Thanks to the spread of the internet in the mean- time, I soon found out that the music was part of the Sanctus in the Missa Luba of Congolese origin composed in 1958, a “modern mass” based on traditional Congolese melodies.
    [Show full text]