*nods* Well, both "Sleep" and "Lux Aurumque" (the piece he used for Virtual Choir 1.0) are pieces that were published at least several years ago, so it should be easy to get copies of them from a lot of university/college choirs. Or music libraries.
Still, I find it weird. It triggers some anxiety, oddly—maybe that something as spiritual as creating a piece of choral music can be divided into such isolated parts, manipulated, etc. Because, especially in "Sleep," some of that has to be electronically manipulated: the balance, the very, very quietness at the end (which actually seems near impossible vocally—I think it can only be created by digitally "fading out" the sound). How far is it from a choir that uses auto-tuning?
And where is the spirituality of it? Is quality lost or gained when the pieces are atomized like that? Is the experience as transcendent for anyone?
Just thoughts. It's been sort of picking at my psyche since I first heard "Sleep"; that it was done with so many people and that it seems to be Whitacre's new favorite thing both sit poorly.
![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
timeasmymeasure
no subject
Date: 2011-04-10 05:17 am (UTC)Still, I find it weird. It triggers some anxiety, oddly—maybe that something as spiritual as creating a piece of choral music can be divided into such isolated parts, manipulated, etc. Because, especially in "Sleep," some of that has to be electronically manipulated: the balance, the very, very quietness at the end (which actually seems near impossible vocally—I think it can only be created by digitally "fading out" the sound). How far is it from a choir that uses auto-tuning?
And where is the spirituality of it? Is quality lost or gained when the pieces are atomized like that? Is the experience as transcendent for anyone?
Just thoughts. It's been sort of picking at my psyche since I first heard "Sleep"; that it was done with so many people and that it seems to be Whitacre's new favorite thing both sit poorly.