|
|
|
- In addition to its uncontested and continued commercial success (the
CD booklet accompanying the 1986 re-issue claims that it is widely
held to be one of the most successful records of pre-Classical music
ever made [24]), and critical reception (it won a Gramophone
award in 1983), it also had an impact on the musicology community. It
is after A Feather on the Breath of God appears that music history
textbooks begin to include a discussion of her music and one even includes
a track from this recording (Columba aspexit, the same track
that features in A Beautiful Mind in 2001) (Kerman and Tomlinson).
- Significant as Gothic Voices pioneering recording was, Hildegards
more recent and grand success in the marketplace had as much to do with
marketing strategies as it did with the music itself. Following the
Chant craze in early 1994, the marketing of Hildegards
music increasingly targeted the New Age meditational music buyers, and
sales figures for Hildegard recordings soared.
- New Age music is difficult to define:
Like the fractal patterns of nature, new age music isnt
a smooth, definable entity, but a shifting maze of intricate relationships
that are constantly similar, yet constantly different. (Diliberto
44)
When New Age was adopted as a music industry term in the
early 1980s, it embodied a new instrumental music embracing elements
of acoustic, world, folk, space, jazz and classical into a hazy hybrid.
(Diliberto 60)
New Agewhether one applies the term to
music or sex or religion or politics or diet or psychologyis
a sensibility that deliberately eludes the chains of definition. (D.
Hall 13)
According to David Regneri, who sells it in his music store,
it is various musics linked to the values claimed since 1973 by New
Age Journal: wholeness, spirituality, relationships, self-healing,
universal brotherhood and sisterhood, creativity, and oneness with
the universe. Developed mostly in Germany, Japan, and California,
it includes Space Music, electronic music with a dreamy,
otherworldly quality; George Winstons piano music
with a percussive style that is yet flowing and quiet;
Celtic harp; Japanese folk melodies on flute; singing in Gaelic; Mozart
played on synthesizer, sampler, and acoustic instruments and inlaid
with naturally recorded ocean sounds; Native American
chanting and singing combined with synthesized music. What all these
types have in common, Regneri said, is that they are relaxing, calming,
and mediatative for certain people. Pachelbels Canon,
he noted, played slowly so its relaxing becomes New Age
music. (S.G. Hall 23)
New Age musics consciousness-changing abilities can
increase the mental and emotional health of those who listen to it.
Whether used as ambient or foreground sound, the music can evoke feelings
of peacefulness, joy, relaxation, gentle stimulation without distraction,
intimacy, and sometimes even bliss
It aids mental concentration
(or defocusing) for superior meditation, inner awareness or out
of body traveling. (Birosik x)
New Age music is at once both a style and a genre, a category created
by the music industry (Aidan A. Kelly describes it as a marketing
slogan, not a musical category [295]). As a style New Age
music is associated with breathy, slow, arhythmic, droning, synthesized
music; as an industry category New Age music encompasses many
other types of music, such as World Music, Folk Music, Electronic Music
and Gregorian Chant, frequently without alteration in style. Indeed,
by 1989 Gregorian chant was listed as a category within the Vocal Music
sub-genre of New Age Music in Patti Jean Birosiks New Age Music
Guide (162). This association of Gregorian Chant with meditation
or relaxation was picked up very quickly by record producers. Music
critic David Littlejohn reports that a private poll conducted by the
Spanish branch of EMI in 1993 revealed that, many young Spaniards
owned and played chant records, often for relaxation purposes
(24). It was this poll that led EMI to compile 19 tracks recorded in
the 1970s and early 80s by the now famous Benedictine
Monks of Santo Domingo de Silos, and release the album as Las
Mejores Obras del Canto Gregoriano in Spain in late 1993. Determined
to attract the under-25 crowd, EMI used television advertising to great
success; projecting sales of 30-50,000 copies, by early 1994 EMI had
sold 300,000 (24).
- Later in 1994 in the US, Angel Records (an EMI
affiliate) released the same album under the title Chant with
a new, slick (and now very familiar) cover, depicting monks floating
with the clouds in the sky (a New Age emblem I will discuss later) which
created a media sensation apparently due to its record number of sales.
|
Figure 4: Chant
|
It had sold a million copies within a month of its release (Littlejohn
25) and by 1996 American sales figures topped 3 million (24).6
I would argue, that the media created a selling sensation when they
embraced Angel Records intensive marketing strategies. In addition
to Angel Records massive press release, they also launched a huge
sales campaign through print, radio and cable-television advertising.
Furthermore, as David Littlejohn writes, reaching out to record
store owners, Angel Records shared the cost of local ads, and offered
hooded souvenir T-shirts as well as giant posters and cardboard cutouts
of the monks (24-25). Because of this intensive campaign, stores
throughout America ordered enormous quantities of the album and Chant
reached number twelve in Billboards top classical record
sales before it was available to the public, before a single
CD was purchased by an individual. By relying on shipping figures rather
than actual sales figures and ranking Chant as number twelve,
Billboard itself created a demand for this hugely successful
CD. Importantly, this can no longer happen. Billboards
sales figures are no longer calculated according to the quantity
shipped, but rather the quantity sold.
- In a study that addresses the uniformity of style
in the cover art of New Age recordings, Helfried Zrzavy details five
elements that proliferate, including depictions of landscape: (1) stark
covers, (2) landscape photographs, (3) painted, abstract art, (4) free-form
fantasy landscapes, and (5) absence of the artists (41-48). The
depictions of landscapewhether photographic or fantasyusually
emphasize the sky and clouds, which evoke both nature and the spiritual
realm so important to the New Age aesthetic, illustrated on many New
Age CDs: Windhorse Riders, Out of the Wind, Like an
Endless River, Chiaroscuro, The Song of Angels, and
even on a TV guide cover (see Figure 5). The cover of Chantwith
its sky and cloudsplaces it in the New Age sector of the marketplace,
although Chant appeared on the classical charts and the recording
does not incorporate a New Age style.7
Since the phenomenon of Chant in 1994, discrepancies have arisen
increasingly in the promotion of chant recordings between the
content of the CDs and what the covers suggest. Because the music industry
has appropriated chant as a category of New Age musicwhether or
not the performance style makes use of New Age techniquesit
is sometimes impossible to tell what style of performance to expect
from a CD when both kinds of recordings are marketed in the same way.
Drawing on the success of Chant and its marketing style, many
Hildegard recordings also target New Age audiences through their covers,
whether or not the recording itself uses a New Age style of performance.
|
|
|
Windhorse Riders
|
Out of the Wind
|
Like an Endless River
|
|
|
|
Chiaroscuro
|
The Song of Angels
|
TV Guide cover
|
|
Figure 5
|
|
- 1994 was also the year that Angel Records released Vision: The
Music of Hildegard von Bingen. As Timothy Taylor reports, Vision
was an obvious attempt on the part of Angel to capitalize on their success
with Chant:
|
Figure 6: Vision
|
The monks refused to make a second album for EMI/Angel,
saying they had been underpaid for the first one, so Angel scrambled
to recreate the success of Chant. Hence, the cover art of Vision
is remarkably similar to Chant; even the font is the same.
(14)
Vision, like Chant, uses the sky and clouds motif
to appeal to the New Age market. But unlike Chant, Vision
features World Music rhythms, as well as the reverberation, airy
timbres, ambient synthesizer and atmospheric swells associated with
New Age music. These elements can be heard in Laus
trinitati, firmly placing Vision in the New Age style
category.
- Although the text on the cover proclaims this recording as Hildegards
music (which we know to be monophonic chant), in David Foils liner
notes we discover that the idea behind the CD was to record Hildegard
von Bingens music in its purest form and marry it
to the imaginative concepts of the contemporary American composer Richard
Souther, using contemporary pop and world-music sounds that reinvent
the startling immediacy, the piercing beauty, and the sublime spirit
of Hildegards art [emphasis mine] (5). Foils language
seems to claim several levels of authenticity for the recording: the
pure performances of Hildegards
chant (sung by early music singer Emily Van Evera and a real
nun from New Jersey, Sister Germaine Fritz) and the creative vision
of Richard Souther. Taylor points out this same claim to authenticity
in the press release issued by Angel, which refers to the use of two
unique vocalists for authenticity, Sister Germaine Fritz, a Benedictine
nun, and Emily Van Evera, a world renowned early music vocalist and
historian (15).8
Curiously, although the liner notes state that Souther used contemporary
pop and world-music sounds to reinvent Hildegardgranting
him authenticity as a creator, Taylor reports that world-music
sounds are the least authentic feature of the album: The
promised world rhythms turn out to have been available on a CD collection
entitled Supreme Beats: A Percussion Library by Bashiri Johnson.This
4-CD set reportedly took six months to complete and contains 650 grooves
in four hours, in four categories: contemporary, dance/hip-hop,
African, and world. Available for $350,
the collection is aimed at anyone who use[s] sampling as a creative
tool (16). The cover art of Vision is notable for its
use of two forms of neumatic notation, the late medieval square notation
in the border and the earlier neumes (such as those found in Hildegard's
manuscripts) which float disembodied in the cloudy sky behind Hildegard
herself. The appearance of these neumes, stripped of meaning and context
and used here as pure decoration, strongly reflects the way in which
Hildegard's music has been taken out of its own context through the
style of performance on the album. The rather modern almost photographic
depiction of a youthful nunwearing lipstickwith stars sparkling
in her head covering (a halo for the twentieth century?), similarly
de-historicizes Hildegard the person.
1
2 3 4
Works Cited
Footnotes
6. By 1996 worldwide sales were over
6 million.
7. In keeping with Zrzavys observation about
the absence of the artists on New Age covers, the monks depicted on the
cover in fact are not the Benedictine monks of Santo Domingowho
would be wearing black robesbut rather a group of anonymous Franciscan
monks in their brown robes (Littlejohn 24).
8. Emily van Evera, in fact, is one of the Gothic Voices
singers on A Feather on the Breath of God.
Top |
|
|