Fifth Piece: Breves on Art
3.26
Description
In this composition, the words that Roberts and the choir pronounce are incomprehensible. Again, the voices have been rendered unintelligible by the process of selecting, editing, and assembling samples derived from the source material. After four cycles of the acoustic drawing, the choir and Roberts enter in unison. The ferocity of the music’s attack and drive remain undiminished throughout. The character of the sound borders upon the cacophonic, as discernible tonalities and non-pitched noise collide and coalesce at volume, and with little pause for breath.
Revival services often exhibited the same clamour and chaos. At the revival’s peek, some meetings were no longer lead from the front, but erupted amid the congregation. Several in attendance would stand at once, either praying or singing aloud, or else dance in the aisles. Others would cry to God for forgiveness, and yet others would appeal to the unconverted in attendance to do the same. The small group of female choristers that accompanied Roberts at services throughout his mission would also be lift their voices to God, in solidarity with, and recognition of, the great work that he was doing among them. Roberts, for his part, was content not to intervene and impose order, believing that the events were under the direct supervision of the Holy Spirit.
3.26
Description
In this composition, the words that Roberts and the choir pronounce are incomprehensible. Again, the voices have been rendered unintelligible by the process of selecting, editing, and assembling samples derived from the source material. After four cycles of the acoustic drawing, the choir and Roberts enter in unison. The ferocity of the music’s attack and drive remain undiminished throughout. The character of the sound borders upon the cacophonic, as discernible tonalities and non-pitched noise collide and coalesce at volume, and with little pause for breath.
Revival services often exhibited the same clamour and chaos. At the revival’s peek, some meetings were no longer lead from the front, but erupted amid the congregation. Several in attendance would stand at once, either praying or singing aloud, or else dance in the aisles. Others would cry to God for forgiveness, and yet others would appeal to the unconverted in attendance to do the same. The small group of female choristers that accompanied Roberts at services throughout his mission would also be lift their voices to God, in solidarity with, and recognition of, the great work that he was doing among them. Roberts, for his part, was content not to intervene and impose order, believing that the events were under the direct supervision of the Holy Spirit.
