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No4 af
HYMNS TO INANNA
THESIS
Presented to the Graduate Council of the
North Texas State University in Partial
Fulfillment of the Requirements
For the Degree of
MASTER OF MUSIC
By
Amy L. Quate, B.A.
Denton, Texas
May, 1986
@ 1986
AMY LOU QUATE
All Rights Reserved
Quate, Amy L., Hymns to Inanna, Master of Music
(Composition), May, 1986, 123 pp., descriptive preface with
historical perspectives and compositional analysis, ful 1
score.
The poetry of Sumer, inscribed in cuneiform script on
clay tablets dating from 2000 B.C., is considered humanity's
earl iest written 1 iterature. Hymns To IHanna is a three-
movement, mixed media work based on adapted English
translations from ancient Sumerian text. The text is sung
by SATB choir and musically illustrated by harp, flutes,
percussion, and computer-generated sound (on tape).
My musical setting displays these hymns not as a
reflection of antiquity but as a timeless expression of
spiritual thought. Certain elements of the composition
evoke associations with early culture and music. These
components, however, are transformed or merged with musical
characteristics of other eras, idioms, and forms thus
representing a conceptual and stylistic "bridge" between
past, present, and future.
TABLE OF CONTENTS
Page
PREFACE -------------- - ------- i
PERFORMANCE NOTES-- -------- ------ xxv
Musical Score: HYMNS TO INANNA
1. THE HOLY PRIESTESS OF HEAVEN - - - I
I I. LOUD THUNDERING STORM------ -- 38
I I I. JOY OF SUMER- --- - ------ 92
PREFACE
HYMNS TO INANNA is a three-movement, mixed media work
based on English translations from ancient Sumerian text.
The text is sung by SATB choir and is musically illustrated
by computer-generated sound (on tape) and by an acoustic
instrumental ensemble including harp, flutes and percussion.
The purpose of the musical setting is to display these
hymns not as a fragment of antiquity but as a timeless
expression of spiritual thought.
Certain elements of the composition deliberately evoke
associations with early culture and music. These compo-
nents, however, are transformed or merged with musical
characteristics of other eras, idioms, and purposes thus
representing a conceptual and stylistic "bridge" between
past, present, and future.
History
The Sumerians were a non-Semitic, non-Indo-European
people who flourished in southern Babylonia from the
beginning of the fourth to the end of the third millenium
B.C. During this long stretch of time the Sumerians, whose
racial and linguistic affiliations are still unclassifiable,
constituted the dominant cultural group of the entire Near
East. This cultural dominance manifested itself in three
i
main areas of impact.
1. The Sumerians created the cuneiform system of
writing which was adopted by nearly all the peoples of the
Near East and without which the cultural progress of
western Asia would have been largely impossible.
2. The Sumerians developed religious and spiritual
concepts that profoundly influenced all the peoples of the
Near East, including the Hebrews and the Greeks.
Moreover, by way of Judaism, Christianity, and
Mohammedanism, many of these spiritual and religious
concepts have permeated the modern civilized world.
3. The Sumerians produced a vast and highly developed
literature, largely poetic in character, consisting of
epics and myths, hymns and lamentations, proverbs and
"words of wisdom." These compositions are inscribed in
cuneiform script on clay tablets which date largely from
approximately 2000 B.C. 1 In the course of the past
hundred years, thousands of these literary pieces have
been excavated, although an even greater number may remain
yet undiscovered. As literary products, these Sumerian
compositions rank high among the creations of civilized
man. Unique and extraordinary in their significance, the
clay tablets of Sumer comprise the earliest written
literature ever uncovered.
1Kramer, Sumerian Mythology, 3rd ed. (Philadelphia,
1972), p. vii.
11
Although the majority of inscribed tablets now
available were excavated almost half a century ago, the
translation, interpretation, and dissemination of Sumerian
literature has made slower progress than its importance
would seem to merit. Linguistic and archeological
obstacles are the reason. Deciphering the grammar and
vocabulary of the Sumerian language (it is unlike any
other known language, lIiving or dead) has chal lenged
scholars and translators. Physical characteristics of the
source material (the ancient unbaked clay tablets are
often found in fragments) are also responsible for textual
difficulties. These artifacts however, hold a place of
unquestionable importance in the history of civilization;
the continuing restoration of Sumerian literature is
certain to enrich the humanities with one of the most
magnificent groups of documents ever brought to light.
Text
I n choosing the text of Hymns to I anna for mus i cal
treatment, I have considered both the philosophical
content of the literature and the fact that many other
religious concepts and writings, contemporary as well as
historical, are rooted in Sumerian theological thought.
Multiplying the value of this literature's seminal
qual ities is the fact that it has come down to us as
actual ly written by the scribes of four thousand years
ago. Unlike most religious texts, the liturgical poetry
iii
of Sumer's clay tablets is an original expression,
unmodified, unmodified, unedited, and unscathed by
scholarly prejudices with diverse motives and ideologies
to satisfy. 2
Religions are, by definition, created by the
people--not the gods--that they serve. Throughout the
mil l enia of recorded ci vi ization, a diversity of
re 1 i g ions has evol1 ved, each refi ect i ng the deep i nner
beliefs of its collective makers.
The farthest reaches of cultural documentation lead
to the ancient Sumerian civilization, where cuneiform
writing was first invented and the oldest written
literature created.
It was in Sumer that the first great urban
centers came into being, and it was in these
cities that the cuneiform system of writing was
developed through the centuries, to spread overthe ancient Near East.
...Sumerian ideas, techniques, and
achievements in the areas of religion, education,
literature, and law left a deep impression on theirneighbors, and to some extent even on the culture ofmodern Western man. In more than one respect, Sumer
may justifiably be designated the "cradle ofcivilization."
Numerous parel lels between this progressive culture
and our own can be drawn. Their religion, however, shows
the influence of a divine figurehead that contemporary
theology lacks.
2ibid., pp. 12, 20.
3Diane Wolkstein and Samuel Noah Kramer, Inanna:
Queen of Heaven and Earth, (New York, 1983), p. 115.
vi
Female deities were worshipped and adored al lthrough Sumerian history....but the goddess who
outweighed, overshadowed, and outlasted themal 1 was a deity known to the Sumerians by thename of manna, "Queen of Heaven," and to theSemites who lived in Sumer by the name of Ishtar.Inanna played a greater role in myth, epic1 andhymn than any other deity, male or female.
The goddess Inanna is uniquely significant because
un i ke deities such as Juno or Hathor or Athena or V irgin
Mary, she does not represent a smai I s1 ice of 1 ife, a
special sized realm of divinity. She is all of life: the
glorious and the fearsome, the chi id and the warrior, the
eternity and the now.
In Sumerian, Imanna's name means Iliteral ly"Queen of Heaven," and she was cal l ed both theFirst Daughter of the Moon and the Morning and
Evening Star (the planet Venus). In addition,in Sumerian mythology, she was known as the
Queen of Heaven and Earth and was responsiblefor the growth of plants and animals and fertilityin humankind. Then, because of her journey to
the underworld, she took on the powers andmysteries of death and rebirth, emerging not
only as a sky or moon goddess, but as the goddesswho rules over the sky, the earth, and theunderworld. Here was the goddess in al I heraspects....
Like many scholars, archeologists, anthropologists,
and philosophers who have dedicated years of creative re-
search toward greater knowledge of Inanna and her people,
I am inspired by her limitless persona.
4Samuel Noah Kramer, From the Poetry of Sumer,
(Berkeley, 1979), p. 71.
5Wolkstein and Kramer, op. cit., p. xvi.
v
manna was celebrated and glorified not only in
epic and myth, but also in a vast hymnal repertoireconsisting of a varied assortment of psalms, lyrics,
and chants as well as numerous dirges and threnodies..... In these hymnal compositions, as in the epics
and myths, the goddess emerges as a complex, many-sided personal ity embodying contragting attitudesand contradictory characteristics.
The seven hymns known as the Iddin-Dagan Hymns
(named for King I dd i n-Dagan who reigned around 1900 B.C.)
are attempts by the Sumerian temple poet to reveal
manna's glory and come close to, as well as to attract,
the Goddess of Love, so that she wi l descend once again
from heaven to earth.
The second hymn (Loud Thundering Storm) relates to
the month 1 y worsh i p of I nanna by the gods and peop 1 e of
Sumer. This description of manna's raging, stormy
aspects completes the multi-faceted view that the
Sumerian poets present of their passionate, fructifying,
yet terrifying and unfathomable Goddess.7
The hymns to manna acknowledge her myriad
achievements and aspects. She is radiant, thundering,destructive, defiant, judgemental, kind, generous,
peaceful, heal i ng, erotic, decisive, discerning,wise, transcendent, lov ing, fertile, joyous, andever youthful. But the fullness of manna's being
goes beyond these separate aspects. manna is
the Goddess of Love. Formed from all of life, theGoddess of Love gives forth desire that generatesthe energy of the universe
6Kramer, From the Poetry of Sumer, p. 84.
7Wolkstein and Kramer, op cit., p. 207.
8 ibid., p. 169.
vi
The first hymn to Inanna, "The Holy Priestess of
Heaven," is a greeting. Her radiance and light are
welcomed from afar. As the daughter of the moon god, she
belongs to the sky deities, who are worshipped for their
tremendous power, conciousness, majesty, and transcendence.
The second hymn to Inanna changes the perspective of
the worshipper from that of a distant bystander to that of
a "captured" participant. By means of a monthly ritual,
the people of Sumer are raised into a relationship with
their goddess.
In the first twelve lines of "Loud Thundering Storm,"
all that is mysterious, awesome, and beyond human control
or knowledge--both in the external world of the raging
storm and in the internal world of the emotions of the
heart--is likened to the persona of Inanna.
The fifty lines that connect the passionate,
destructive Inanna to the magnanimous, all-knowing Inanna
are not intact. Yet both in heaven and on earth, dark and
frightening moments are followed by calm and order. The end
of chaos and the reestablishment of order were symbolized
for the people of Sumer by the point in the lunar cycle
when "the crescent moon reaches its fullness."
Inanna then assumes her destined role and empowers the
holy form of existence; her spiritual force moves from the
wild and unpredictable "heart" to the all-knowing and all-
vii
seeing "eye." So, too, the animals, people, and gods who
are governed by their uncontrollable instincts go before
their queen in order to discover their own form and
destiny. What they discover is the experience of being
linked to the "eye" or inner light of their goddess. The
incredible energy of the storming goddess, now brought into
the social order, emanates with such luminosity and
intensity that the people are captured and lifted into a
state of "greater light."
The final hymn, "Joy of Sumer," is the culmination of
the seasonal, monthly, and daily ties created between
Inanna and Sumer. She descends from heaven and enters into
direct union with the people of Sumer through their earthly
king.
Inanna's descent is needed to set in motion the
annual cycle of life on earth. The mystery of human life,
connected to the mystery of natural life, dwells with the
Goddess of Love. manna's cosmic light, which shines from
the heavens all year, this day appears on earth. Male and
female, heaven and earth, mortal and divine have united
and a new year has begun. The spirit of love has descended
and is reborn on earth.
Hymns to Sumerian deities and kings may have been
created for dedications of new temples or statues or for
festivals involving public processions. The last hymn in
the group, "Joy of Sumer" was clearly recited to celebrate
viii
King Iddin-Dagan's divine reunion with the goddess Inanna
in the traditional religious ritual. 9
Dedicated scholarly efforts have provided a substantial
body of deciphered, translated works from the original
Sumerian, many of them focusing on the goddess Inanna.
Since part ofmy goal in composing this musical work is
to advance public appreciation of these early religious
and philosophical ideals, I searched among all available
writings to find easily understood emotions and verbal
images--poems that could carry meaning to a contemporary
person without special education in ancient history. The
triptych that I chose from the Iddin-Dagan hymns expresses
the most enduring, universal themes. Add i t i opa l ly, as a
group they complement each other in fully presenting the
diverse facets of the goddess and her relationship with
the Sumerian people.
The complete edited text for al I three movements of
Hymns to Inanna appears in fig. 1.
Form
The ancient scribes had a fine sense of emotional
balance in the sequence of these hymns, and the order of
the musical movements in based on that of the original
9W.W. Hal lo, "The Cultic Setting of SumerianPoetry," Actes de Ia XV I I Rencontre Assyr i a l ogigqueInternationale, Comite Beige de Recherches enMesopotamie, (Ham-sur-Heure, Belgium, 1970), pp. 116-134.
ix
FIGURE I: ADAPTED TEXT
I. The Holy Priestess of Heaven
"Hail!" to the Holy One who appears in the heavens!
"Hail!" to the Holy Priestess of Heaven!"Hail!" to manna, Great Lady of Heaven!
Awesome Lady!You fill the heavens and earth with light!"Hail!" to manna, First Daughter of the Moon!
Holy Torch! You fill the sky with light!You brighten the day at dawn!"Hail!" to manna, Great Lady of Heaven!
Mighty, majestic, and radiant,You shine brilliantly in the evening;You brighten the day at dawn.You stand in the heavens like the sun and moon!Your wonders are known both above and below!
II. Loud Thundering Storm
Proud Queen of the Earth Gods,Supreme among the Heaven Gods!
Loud Thundering Storm, you pour your rain over al1 thelands and all the people.
You make the heavens tremble and the earth quake.Great Priestess, who can soothe your troubled heart?
You flash like lightening;You throw your fire across the earth.
Your deafening command, whistling like the South Wind,splits apart great mountains.
You trample the disobedient like a wild bull;Heaven and Earth tremble!
Holy Priestess, who can soothe your troubled heart?
Your frightful cry descending from the heavens devoursits victims.
Your quivering hand causes the midday heat to hover overthe sea.
Your night-time stalking of the heavens chi l is the landwith its dark breeze.
Holy Inanna, the riverbanks overflow with the flood-wavesof your heart.....
x
On the seventh day,when the crescent moon reaches its fullness,
You mount the steps to your high throne,In all majesty.
The gods of the land come before you.
The gods of heaven and earth kneel before you.The living creatures and the people of Sumer
come before you, parade before you,
Caught in your gazeAnd held in your holy yoke.
I I I. Joy of Sumer
Radiant, radiant,My Lady looks in sweet wonder from heaven!The peopl e of Sumer parade before the holy Ianna.The Lady Who Ascends into the Heavens,manna, is radiant!
poetry. The overall form of the movements Is derived
from the structure of the text. Elements of form within
the movements al so relate to the written and impli ed
content of the hymns.
In the laudatory first movement, "The Holy Priestess
of Heaven," choral presentation of the text is the
dominant feature. There are brief instrumental
interludes as wel 1 as instrumental /vocal exchanges, some
being imitative in quality.
The "Hail! to manna..." refrain is presented with
identical rhythmic values and similar harmonizations at
eacch occurrence of the phrase. These words capsul ize
the message of the entire hymn; their reinforcement
creates a foundation and a recurring summary.
The music does not, however, culminate with the
broad strokes of this refrain at the end of the movement.
It goes one step further: Instead of concluding with
more loud declamations of glory, the music moves into a
serene chorale that symbolizes the divine wonderment and
praise of the worshipping heart.
"Loud Thundering Storm" is loosely programmatic and
makes prominent use of taped computer music elements and
instrumental forces to accompany the choir.
The fact that a section of text is missing from the
original clay tablet introduces an opportunity, not a
xi
problem. Within this movement the transition from stormy
chaos to peaceful order is accomplished strictly by musical
means, not through verbal explanation. The archeologist's
misfortune is the composer's creative challenge.
The music of the final movement, "Joy of Sumer," is
rooted to a scintillating ostinato in the taped computer
music part of the orchestration. Contrapuntal layers of
choir, flutes, harp, and percussion float over the
repeating, shifting rhythms of the ostinato.
The movement begins with tape alone. After the first
modulation is completed in the computer music solo, canonic
phrases in longer rhythmic values enter over the ostinato.
The second modulation raises the overall pitch by another
semitone and is colored by various combinations of tape
with acoustic instruments. The concluding section of "Joy
of Sumer," uses textural density and rhythmic complexity to
heighten the musical intensity as it approaches the final
cadence.
Orchestration
The elegant, image-filled poetry of Hymns to manna
makes its own music. Rhythm is uniquely ingrained in the
Sumerian language, and even the English translation retains
harmonies and cadences of poetic thought. It seems natural
that these words be joined with the music of instruments
and singing voices, as indeed they were in ancient Sumer.
xii
Artifacts and literary sources document the use of
many different instruments, particularly strings and
percussion.
The sacred nature of these musical instruments is
suggested by texts which relate that offerings were
brought to lyres as to statues of the gods.
Harps, lyres, tambourines, kettledrums, reed pipes,
double-reed pipes, assorted aerophones, and a wide variety
of drums are all specifically mentioned in written
materials. Especially fascinating are illustrations of
musicians in ancient art. Pictures, relief carvings,
plaques, statues, and the uniquely characteristic "cylinder
seals" created by ancient Sumerians provide insights and
information about ancient art and music.
Music, both instrumental and vocal, played a
great role in Sumerian life, and some of the
musicians became important figures in temple
and court. Beautifully constructed harps and
lyres have been excavated in the royal tombs
of Ur. Percussion instruments such as the
drum and tambourine were quite common, as were
pipes of both reed and metal. Poetry and song
flourished in the Sumerian schools. Although
virtually all the recovered texts are hymns to
gods and kings, there is little doubt that
music, song, and dance were a major source of
entertainment both at home and in the market-place.
Bow harps feature tuned strings attached to a curved
bow on one end and inserted into a boxlike resonator at the
10 Wolkstein and Kramer, op. cit., p.122
xiii
other end. Bow harps appeared in Egypt and Sumer at least
five thousand years ago and various forms of them are still
used in some parts of the world.1 1
There is a special Sumerian hymnal genre known as
"balag." The word "balag" probably means "harp," and it
may be assumed that the balag chants were accompanied by
that musical instrument.12
Box lyres, like early harps, date back at least five
thousand years, and examples encrusted with gold or silver
and precious stones have been found in diggings at the
royal cemetery at Ur. 3
Of the three catagories of Sumero-Babylonia
instruments--percussion, winds, and strings--the strings
are traditionally associated with potency and with the
cult that is played before the goddess manna and the
king. The harp's sound is said "to drown out the southern
storm," providing us with some idea of the loudness of the
music it produced. Other texts liken the sound of a
stringed instrument, perhaps a lyre, to the thunder of the
Storm God. Bulls--the animal symbol of storm and
tm David Reck, Music of the Whole Earth, (New
York, 1977), p. 125.
12 Samuel Noah Kramer,From the Poetry of Sumer
(Berkeley, 1979), p.15.
13 David Reck, op.cit., p. 129.
xiv
fertility gods--are carved into the soundboxes of lyres
excavated at the Royal Cemetery at Ur. The bull thus
seemingly emits the thunderous sound of this stringed
instrument.14
Al lusions to the tautness of the strings of
instruments such as lyres are found in Sumerian and
Akkadian love charms to ensure potency.15
The art of drum making and playing was obviously
highly developed and specialized. The tigi-, lil is-, and
sem- drums and the ub-, meze-, and ala- tambourines are
among the instruments whose names and importance are
known to us from their many mentions in ancient
1 iterature, but whose exact decriptions and playing
techniques are uncertain.
In Sumerian sacred art, tambourines are usual ly held
by nude female figures and, in one instance, on a
cylinder seal from Marl, by the goddess Ishtar/Inanna.
Accordingly, the instrument is associated with sexual
love, and with seduction, and perhaps with the cult of
the goddess.1 6
Small pottery statuettes of women playing round
frame drums with their hands have been dug from the
1 4Wolkstein and Kramer, op. cit., pp. 198-199.
15 Kilmer, Ann Draffkorn. "The Strings of MusicalInstruments: Their Names, Numbers and Significance,"Studies in Honor of Benno Landsberger (AssyriologicalStudies 16), (Chicago, 1965), pp. 261-268.
16 Wolkstein and Kramer, op. cit., p. 196.
xv
ruins of Ur (2000 B.C.); simi lar drums, oftenassociated with rattling jangles attached, are
played to this day in the Middle East, where they
are still associated with the singing and dancingof women. ...this instrument migrated to Europe
(along with many others from the Middle East) where
it became known as the tambourine, and where--nearlyfour thousand years after Ur--it is played by thewomen of gypsy ensembles and Salvation Army bands!
17
The ancient Egyptian and biblical sistrum (it dates
from at l east 2500 B.C.) is used to this day by the
congregration and priests of the Ethiopian Coptic Church
to praise the Lord in services and sound.18
Although specific musical performance instructions
are not notated in the original text of Hymns to Inanna,
the playing of string instruments and drums are described
in some of the col election's hymns. It seems likely that
the antiphons or refrains that occur in this composition
would have been accompanied by one or several instruments. 19
This work, therefore, combines the oldest types of
instruments (drums, harp, flutes, etc.) with the most
modern (digital) and symbolizes the musical pulse of
manna spanning the centuries.
Texture
The textures of this work are comprised of singers,
instruments, and tape; these are al 1 used indi v idual ly and
t 7Reck, op. cit.,, p. 105.
181bid., p. 98.
19 Wolkstein and Kramer, op. cit., p. 170.
xvi
in every possible combination. The tape is co-ordinated
with choir and instruments by time markings and sound cues
notated in the score.
The voices of the choir are employed in both traditional
and contemporary writing styles. Ancient literary sources
make frequent mention of song, chant, and recitation (which
may include instrumental accompaniment.) Scholars have also
concluded that antiphony was common, although exact styles
and applications are yet to be ascertained.
"The early second-millenium poem called The Exaltation
of Inanna has choruses, probably to be sung anti-
phonal ly...."20
My setting of Hymns To anna uses some elements of
chant and antiphony in the second movement, "Loud Thunder-
ing Storm." It begins with a liturgical call and response.
The turbulent, storming section which then unfolds employs
some samples of antiphonal psalmody (split phrases or
alternating verses). In the setting of "Your deafening
command, whistling like the South Wind, splits apart great
mountains," (p. 60-61) the phrase moves from full choir, to
soprano soloist, back to full chorus. At the end of the
storm, the phrase "Holy Priestess, who can soothe your
troubled heart..." is repeated responsorially.
2 0 Nancy K. Sandars, Poems of Heaven and Hell from
Ancient Mesopotamia, (London, 1971), p. 18.
xvi i
The final section of this movement also features
several chanted and sung phrases presented in a
responsor i al texture.
In the first movement, The Holy Priestess of Heaven,
there are many examples of two other traditional
compositional techniques, chorale and counterpoint.
Imitative textures [Example: "To the Holy Priestess..."
(pp. 4-5, mm.#15-18)1 alternate with thick choral
harmonies [Example: "Hail to I Hanna..." (pp. 5-6,
mm.#19-23)] throughout the movement.poco accel.
Soprano
Alto
Tenor
Bass
Hail l Heil! Hail I HailI
Other contrapuntal devices used in this setting
include suspension (p. 23, mm.#83-86) and imitation of
harmonized choral phrases by instruments and instrumental
groups (pp. 32-37, mm.##124-141) .
These textures are not always strictly traditional,
however. Contrary contrapuntal motion is freely shifted
into parallel motion using intervals such as 4ths, 5ths,
or 7ths. (Example: p. 23, mm.#86-88)
xviii
- ens Hail ! HailI Hail i to the Ho - ly Priest - ess of Heav -- en 1
- ens Hail? Hail'! Hail ! to the Ho - ly Priest-ass of Hea-- en I to the Ho - ly
-ens Hail ! Hai! ! Hail! to the Ho - ly Priest - ass of
~ p
In "Joy of Sumer" the canonic entrance of women's
voices and flutes (PP. 97-100, mm.#38-45) confirms
musical ly a sense of grace and balance. The section
immediately fol lowing (pp. 100-102, mm.#46-53) typifies
strict tonal imitation at regular intervals of time
displacement. I-Sops"R o fF
R. dant .,....-. ....antmy
Alto R iatR .----. -ai m
Re ' iRant Re di _&M -
," Re di a T d
Fluest
The next phrase (pp. 103-104, mm.#54- 5 7 ) employs a
combination of contrapuntal devices: species counter-
point in longer durational values, strict imitation, and
derivative counter-melody. A contrasting effect is created
by the chanted unison (at the octave) that fol lows.
The conclusion of "Joy of Sumer" is a more complex
contrapuntal vocal arrangement overlaid with rich
instrumental textures. Complete melodic phrases as wel 1
as small ler motives are imitated, altered, and exchanged.
The increasing thickness and complexity of the choral and
instrumental patterns heightens intensity toward
conclusion: a sudden alignment of pitch and rhythm
(symbol izing transcendental unity) cadencing over
brilliant streams of sound from the computer music tape.
xix
Hymns To manna incorporates composite timbres
involving the highlighting of acoustic timbres through
comp l ementary programming of computer generated t i mbres.
The taped part of the instrumentation is used in a
different way within each of the three movements.
In the first, it preceeds the acoustic forces. It is
a ringing primal pulse, a call to worship, an awakening of
consciousness.
The tape part of "Loud Thundering Storm" plays many
roles. Wild, uncontrollable, powerful forces of nature and
emotion are represented sonically. The juxtaposition of
the live choir, chanting and singing, against the thick,
wailing glissandos of a "synthetic choir" create an
interesting drama and a form of textural counterpoint.
Contrasting the second movement's thick layers of
sound is the pristine tape ostinato in "Joy of Sumer." The
pattern is expressed in traditional notation, and there is
a further difference in its use as the musical foundation for
the movement as a whole.
Instrumental forces are used soloistically and
sectionally, as well as providing accompaniment to choir
and vocal solo material.
This work explores coloristic aspects of percussion
instruments in addition to their rhythmic significance.
Rhythmic motives are present in all components of the
ensemble, providing a unifying force.
xx
Tonal Organization
In Sumerian music, development can be traced from a
pentatonic scale to a later heptatonic scale.2 1
Hymns to Inanna uses these prototypes of tonal
organization as wel 1 as the expanded vocabulary of
contemporary mus i c.
Pitch materials for choir and instruments include a
wide variety of structures: Pentatonic, diatonic, non-
tonal, and quartal elements are used freely to suit the
changing character of the text.
The computer-generated music incorporates a variety
of techniques: Realization of tonal music representable
in standard notation; computer programmed elements that
imitate sounds of nature or are similar to known acoustic
instruments; app 1 i cation of "random- va lue" and quasi -
random functions; and combinations and/or variations on
the above methods.
Performance Cons iderat i ons
The integration of tape with acoustic forces presents
both logistical and musical chal lenges. Coordinating the
21Duchesne-Gui 11emin, Marcel 1 e. "Appendix: Notecomplementaire sur la decouverte de Ia gamme babylonienne,"Studies in Honor of Benno Landsberaer (Assyr io l og i calStudies 16), (Chicago, 1965), pp. 268-72.
xx I
elements in a practical, dependable manner is critical
for success in performance.
Composers have approached this problem with a
variety of possible solutions. Some of these precedents,
however, would be difficult with the large ensemble
required by Hymns to I anna; others seem to overlook the
musical sensibilities of l i ve performers. In my scoring,
the different ways that the tape i s used in each movement
determine multiple answers to the same question.
In the first movement, performers fol low the tape
without the need for subsequent cues.
"Loud Thundering Storm" uses the tape as an ever-
changing sonic environment. The piece moves forward by
means of logical, wel 1-spaced sound cues that have a
reasonable amount of inherent flexibility in coordinating
with performers' responses. Detai led information about
cue intervals and characteristics is notated in the
score.
The final movement maintains the constant,
repetitive tempo of the computer music. The tape part is
completely notated and can be integrated through
traditional musical means.
Other performance considerations include: careful
text placement in the choral setting to provide logical
metric stress and melodic contour in words and phrases,
and practical, idiomatic scoring for instruments.
xxii
Conclusion
The emotional and spiritual impact of any piece of
music is exclusively a personal experience on the part of
the listener. It cannot be judged objectively.
Musical appropriateness in the setting of a text or
the scoring of instruments and voices, however, can be
critically discussed with objective, as well as aesthetic,
criteria.
Is the mood of the music harmonious with the content
of the text? Is the structure logical? Are the abilities
of the ensemble used to good advantage? Is the work
coherent in form? Individual tastes and preferences
understandably account for personal responses to music, yet
there are many questions that can aid in evaluating the
degree to which a piece of music meets its own intended
goal s.
Any compositional method employed in writing music--
from functional harmony to serialism, indeterminacy, or
computer-assisted composition--implies a superstructure
of subjective choices. The fulcrum of decision is the ear
of the composer.
I believe it is important for music to offer
satisfaction and meaning to performers because they seek to
xxiii
express their own hearts through it. They create the
living sounds of musical communication.
Music does not fully exist until it is realized in
performance. The notated score is a representation of
music in a form apart from itself: it is a set of
instructions, a recipe for the actualization of music.
There is unquestionable artistry in the judicious,
creative skill of musical notation. There can be pure
genius in the alchemy of composition.
But it is the real vibrations of music, its physical
textures, sonorities, and rhythms, that connect earthly ears
to abstract illuminations.
In Sumerian, the word for ear and wisdom is
the same. The ear, which is located mostly
internally and is coiled like a spiral
or labyrinth, takes in sounds and begins g
transform the imperceptible into meaning.
2 2Wolkstein and Kramer, oP. cit., p. 156.
xxiv
PERFORMANCE NOTES
I nstrumentat I on
Large SATB choir (some solo parts)
4 Flutes (1st Flutes doubles on piccolo)
1 Harp
Percussion ensemble (minimumTimpaniBass DrumCymbalsLarge GongSmall GongSuspended CymbalTriangleCrota lesTambour i neGlockenspielChimesSnare DrumTom-tomSistrumBel 1 TreeVi braphoneWind ChimesTam-TamWind Sounds (may be win
2 Bows (for use in bowi
number of players = 4)
d machine or other device)
ng vibraphone and tam-tam)
Sound system (stereo tape recorder, amplification, and
high-f i de l ity speakers) requ i red for tape playback
Additional Instructions
Tape Coordination:The tape part is supplied as a stereo reel-to-reel
recording. The first section of tape is a test tone at 0 dB
for setting levels in rehearsal."STOP" and "START" cues (there is one tape segment in
each movement) are notated in the score. Col ored leader
tape is spliced between each tape segment to mark the
endings of the segments and to facilitate cueing. After
stopping when a tape section has been played, cue up the
next movement's tape segment by advancing to the end of the
intervening leader tape.
xxv
In the middle of the second movement, Loud Thunder ing
Storm, sounds from the tape serve as coordination cues to
the conductor and the performers. This part of the score is
largely non-metric; boxed numbers (which are measure numbersin al1 the rest of the score) are used in this section as
cue numbers. Dark arrows under the cue numbers indicate
cues that must be given by the conductor (pointing down) and
sound cues (pointing up) from tape or instruments. Dotted
lines also provide coordination references.Two forms of time notation are included to facilitate
ensemble/tape coordination. Total elapsed time appears at
the bottom next to the tape notation section of the score.
At the top, approximate time (in seconds) between cues is
shown next to the boxed cue numbers.
= highest possible pitch
I = lowest possible pitch
Pitch clusters indicate approximate pitches.
pp. 81 - 82: Choir enters immediately when the tape "choir"
begins to fade.
Notations ("Tenor," etc.) given with vocal solos suggest
possibi l it ies, not l imitations. Strong, expressive singers
are desirable, regardless of part classification.
To minimize visual clutter, rests are omitted in some
particular instances.Percussion: Lines or staves where no notes are
played on a ful1 page (all movements).
Al 1 sections, pp. 58 - 82: Lines or staves where nomaterial is played betweencue numbers.
xxvI
HYMNS TO INANNA
I. The Holy Priestess of Heaven
Soprano
Alto
Tenor
BNow-Baas
72)
Flutes
3Flutes
Harp
4 (J72)
Timpani
Suep.PPCvs -.Cym.-
Triangle
Top" n
1
2
Exultaot__ _ _
Soprano
Hail IHail I
Alta
Ha i rHail I
fi
TenorHail Hail ----
Hail!
if ____
BassHail- ! -----
Hail!
Flutes 2
Flutes 4 * g
Harp
Timpani
BassDrum
Cymbals -P
Gong --
Suip.Cym.
Triangle
Tape f
I
3
E93 p sub. >
Soprano
Oewho- ap pears -..-.. in the Heav-
Seans
Ho -- Y
Alto
Ho who- ap pears Hem-
H3 -!y one - - >'
r-3, p sub.
Tenor
-- - who- ap pears Heav-
to the Ho - ly One
- p sub.
Bass
to the Ho - IV One---
Flutes 2
3Fltutes 4
mpHarp
Timpani
mp pp sub.
BassDrum
Cymbals
Gong
Susp.
Cym.
Triangle
TACET TO END TAPE OFF
Tape
poco accel.
Soprano
..- ens Ha i ! Hail ! Hai! to the Ho - ly Priest - ass of Heav --- an !
Alta
-- ens Hail ! Hail ! Hai! to the Ho - ly Priest- ss of Heav -- en ! to the Ha - ly
Tenor
-- ns a Hal i Hato the Ho -ly Priest -on of
Bass
Hail Hal I Hail I Hail I
Flutes2 mp
3Flutes 4
Harp
Timpani
BassDrum
Cymbals
Gong
Susp.Cym.
Triangle
Tape
4
I
mf _,
mp
mf
-_.- -..---
.._."
--Zr--
5
2 J 4 J Majestically
Soprano
Heav - on ! Hea - on! Hea --- an ! Hail -- to ---- n a .-.- n ra
Alto
In an -..- a,
toethe Hs"of Priest - ess of Han !e - en Hl- to
Tenor
Timpani Gea
Heav - an ! Heav -- on! Heav -.... an ! Hal - to -..- n n .....- , Gr t
Bassrn -ana- na, Great
to the Ho - ly Priest -- ass of Heav --- anl Hail-- to--
2j 4js
Harp
-0.
Timpan
Drum
Cymbals
Gong -
SuspCym. PP s.p
Triangle
Crotales
mp
Tape
6
Soprano
La -.. dy of Heav an
Alto
La -- dy of Heav on -
Tenor
La -- dy of Heav- en
Bass~
La --- dy of Hear -- an!
Flutes 2____________
3Flutes4
88)
DrumHarp
( 88
Timpani
f P
BassDrum
Cymbas
Small Gong/
!IJGog+' eGong PPP lw
mf
Sus-.-
Cym.mpf
Triangle
Tambourine
p nil
Crotaes
Tape
7
Soprano
Alto
Tenor
Bass
Flutes -
3Flutes 4
Harp
Timpani
Bass.~~~Drum
Cymbals
Gong
Susp.Cym.
Triangle
Crotalgs
Tape
8
rr
a
Soprano _
Alto
Tenor
Bass
Solo lightly
Piccolo
MP
23
F fatal 4
Hare
- --- -- ----
Timpani
BassDrum
Cymbals
Gong
Suap.Cym.
Triangle
-,--,
Glockenspiil lightly
Crotalas-PP
Tap.
9
Sp33
Soprano
Alto
Tenor
Bass -
solo
Piccolo
mp- PP mf
2_Flutes 3
4
PPP
Harp
Timpani
BassDrum
Cymbals
Gong
SuspCym
Triangh
Tap
p
I
I.
e
i0
__________ +
17-
lot
i
S
SopranoI
3
I - p
pp
Chimes
ppp
10
7_
11 (Switch to FLUTE)
K.M _ _
Alto
Tenor
Bass
so
Piccolo
2Flutes 3
4
Harp
BassDrum
Cymbals
Gong
Susp.Cym.
Triangle
. I
Tape
I
)
I I
Soprano
Alto
Tenor
Bass
Flute 1
3Flutes
Timpani
BassDrum
Cymbals
Gong
Susp.Cym.
Triangle
Tape
11
1. 4 t
i-4.-
I I I
Harp- -
bl Il 10| lill
6 %
I
:T||
i
12
mp45f
Ah
IBass
Flute 1
- pp
Flutes
P
Ri
m
to Tamb_
its
p.m.
p mf
pe
I -
Alto
Tenor
Harp
Timpan
BasDrui
Cymba
Gon
SunCyn
Triang
Crota
Ta
my P0 7 4
, J.
g y"
SopranoI
Soprano
rn 001
13
' |I
Ah
pocoacce------ -
2nd only
_ _ _ _ _ _ ||..
Alto
Tenor
Bass
Flutes 12
Flutes
Harp ft ]F I .
Timpani
BassDrum
Tambourine
Gong
Susp.Cym.
Triangle
pp mp
Tape
I
I
Brilliant
Soprano
Alto
14
Awe some La- dy _Ah,.. -Ah
La ---- dys
1117---_!17___t
Awe some Ah, - Ah
Tenor -L_ _
Awe some La---dy Ah, -- Ah
Bass
Awe some La ---- dy! Ah, - Ah
u2141Flutes 2
F lutes 4_-
} 4J4
i Y
Timpan
BasDrur
Tambourin
Gon
Sur;Cyn
Triang
Snare Dru
244
U
mm
mpmp
E1
1.
mp
PIP
Tat
i
. .
V__
r---. i
4 i1iii -iT-4.-
I
i
. I_
Harp AD-M
Joyful
Solo
15
cti
Harp
Timpani
BassDrum
Cymbals
Gong
Suap.Cym.
Triangle
Tape
- m
mf
34 Is ni
s55 n
soprano
Ah ! Ah Ah
p sub.
Alto
Ah ! Ah A
p sub.
Tenor
Ah ! Ah Ah-
p sub.
Bass
Ah ! Ah Ah
p sub.
Flutes _
3 _Flutes I ~ ~ ________________
16
Soprano
Alto
Tenor
Bass
Solo
Flutes 2
mf poco nt. a tempo
3 -F lutes N l
Harp
Timpani
BasDrur
Cymba
Gon
SussCyr
Triangi
0 !aLI+ I'lli wn
m
ssm
Is
P.I.
p.Tai
iiiii- .
5s81
Jr.
17
I
Soprano
Alta
Teno
Bas
Flute
Flutes
Harp
Timpar
BaDru
Cymba
Gor
SusCyi
Triang
Ta
P
LightLight I
40Lght- -Light I Light -
r.
is
mp ------
2
3
p.pni
ts
'p.rn.
ups
6,1
18
Soprano
Harp
n
k..
mf
mf - f
a
Light Ilees - ens - leaV - ens and - Earth with Light !
Light! H ea v -ens Heav -ens and - Earth with Light
You fill the Heav - ens Heav - ens and - Earth with Light !
Heavy - ens Hea - ens and -- Earth with LightI
Animated
mp
mpFt.
32
mp
Alto
Tenor
Bass
Flute 1
2
Flutes 3
,p - 1M. -.
Timpani
BasDrun
Cymbat
Gong
SuspCym
Triangle
Crotals
Tap
'c".....'........
6]6(
9 - 9
4 I
i
Soprano
Alto
Tinor
Bass
Flutes 2
3Flutes 4
Timpani
BanDrum
Cymbals
Tambourine
Susp.Cym.
Triangle
Sistrum
Crotales
_lf
Fl .4)
Tape
19
Thumb Rol >L
f
f
(I'
I
I
I IHiarp
20
Soprano
Alto
Tenor
Bass
Flutes 2
3Flutes4
Harp
Timpan
BasDrur
Tambourine
Gory
SuspCym
Triangi
Sistru
2]p IIUl I
10
_________________________
p mf
n.
im
-P . ntlmIBl.
Tap
]I
21
Glorious
Soprano
Alto
Tenor
Bass
FlutesZ
3Flutes4
Harp
Hail --- to - In an- nao! First Daugh - ter of -- the Moon-
Hail - to - in an --- na! First Daugh - terof- the Moon!
Hail -to - In an .. no First Daugh -ter of - the Moon
Hail ! ---- In - an - na
- m __lo.wI IIl
ff
e
. P*f
m
11I
Timpani
BassDrum
Tambourine
Gon
SuspCym
Triangi
Sistru'
Crotal
Tap
i i ._t I 1
II I
= 96)
FLSoprano
Alto
Tenor
Bass
22
Ho ly Torch ! you fill the sky with
96)
Harp
96)
St"*sfz
n
rs
sfz s
e
pe
Torch ! you fill the sky with
I I
Flutes 2
3F lutes4
I
Timpani
BasDrum
Cymbal
Gon
TusrCyrr
Triangi
HO - ly
..... ,- .
_. . .__._._..
1 11 1 NIV-
Tiii
lullst 3" 1LA
.- ....
o
Mt 1 -7
0 ---
I
I
I
Tap
4
23
Light 1 Light I Light I Light I with Light Light
Ho - ly Torch ! Fill the sky Fill the sky with Light
Ho - ly Torch ! Fill the sky Fill the sky with Light You bright - en
3
Torch I Light ! with Light Light ------ You bright - enHo - ly Trh
.. 1
Soprano
Alto
Tenor
Bass
Flutes 2
FFlutes 4
Harp
Timpani
BassDrum
Cymbals
Gong
Susp.Cym.
Triangle
J
Tape
i
AT
ii
I
Resounding, magnificent 24
.9
Sop
Flu
Flu
rano
bright - en the day at dawn. Hail - to - In -
Alto" "
bright - an the day at dawn. Hai- to --
3 n>
Tenor
bright - en the day at dawn. -Hail-.- to --.- In -
Bass
bright - en the day at dawn. Hail - to ------ in -
tes
tea 4 ______ ______
3 41 i 4u_ __ __w__ __ __- . I Ad
f--At
Harp
Timpani
BassDrum
Cymbals
Gong
Susp.Cym.
Triangle
Tape
(1I
iff
3-.-+ poco ri t
31 41u92>
M sA9 dmI
r i
I
I
25
Soprano
Alto
Tenor
Bass
Flutes 2
3Flutes 4
Harp
Timpani
BassDrum
Cymbals
Gong
Susp.Cym.
Triangle
I I I I_~- .- ~----
-
-an ---- na, Great La -- dy of Heav --- en
-an - na, Great La---dy of Hea- -.en I -
- an - na, Great La -dy of Hea - en!
- an -na Great La -. dy of Heav - en !
r61 16 P4t4s A~__1 - _________ -i EandE
I U
.11.
Tap'
1
26
11 104)
Soprano
Alto
Boldly
Soo f
Tenor
F 2M a jeste-i2 and Ra
Migta-'
Bass
Drum
Flutes 2
3Fliutes 4
Harp
J=104
Timpani
BassDrum
Cymbas
Gong
Cym.
Triangle
Tape
27
(solo)You shine
Soprano
You shine bril - liant - IV i h v - nn,--------- 4
Alto
You shine bri -liant - IY in te ee-in, You
Tenor
You shine br - liant -Vy in th ev - ig
di -ant
BassYou
Flutes 2
3Flutes 4
Harp
sassDrum
Cymbals
Gong
Susp-Cym.
Triangle
Tape
28
Soprano
bright -aen the day at dawn, You stand in the Hes - ens like the sun and the moon --
Alto77
You tandsun and the moon -
briht anat dawn -- You stand -
bright -Oen ---- dwn
Tenor
" lke the sun and the moon--at dawn, -- You stand
bright - en --
Bass
Yu sadsun and the moon-bright - an--- at dawn, - Yo td
Flutes 2
3Flutes 4
Harp
Timpani
BassDrum
Cymbals
Gong
Susp.Cym.
Triangle
Tape
.. 29
Sopranot.....3 -
You stand in the Heav..ens lke the sun and the moon
Alto
sun and the moon sun andYou stand
Tenor
Timpannd
You stand -- i ke the sun and the moon uad
BassYou stad 4 sun and the moon.
Flutes2
Fltutes 4
Harp
Timpani
BassDrum
Cymbals
Gong
Susp.Cym.
Triangle
Tape
30
SopranoYour
Alto
ai;" your
Flutes 2
Timpani
BassDrum .
Bell Tre
Gong
Suep.Cym'
Triangle
CrotalesPPP
Tape
31
Sopranoare known ------ both a -
wonnon,-----..-Your won -- der
dens are now2
Alto
Your won ---- den oh
won ---- dars are known +------ are known ----- bt
Tenor
Bass
1Flutes 2
3Flutes 4
Harp
Timpani
BassDrum
Cymbals
Gong
Susp.Cym.
Triangle
Tape
32
Soprano
-- hove and be low.A bv n b o
A -. bov - and be low, A-
Timpanid e
--- r I IA-hove and be low, A-
BassA -- hove-..-- and be -- lw A -
Flutes 2
3Flute 4...
Harp
Timpani
BasDrum
Cymbals
Gong
Soap~
CYin
Triangle
Tape
125 poco rit.
Soprano
-- bore and be -
Alto ,
-OW
bove and be low
-- bove and be
bow. and be - lo-
33
Tenor
Bass
Flutes 2
3Flutes 4
Harp
Timpani
BassDrum
Cymbals
Gong
SuspCym
Triangl+
4. MP
.ln.
.liem
I
Tap
_,..-
-i--
Itt
I
nrsv {
Reverentmp
Soprano
Alto
Tenor
Bass
Flutes 2
3Flutes4
Harp
Timpani
BassDrum
Cymbals
Gong
SuapCym
Triangle
Vibraphor
Tap
A boe and be low
-e d-A boe and be low
A bove and be low
A -..- bove and be -..- low
7
(motor on
ee
mp
SS | || l -
34
32l
35
Soprano
Alto
1nBrilliant
mf
Tenor
A bove
Bas
Flutes
Flutes
Harp
Timpar
BaDru
Cymba
Gor
SusCyr
Triang
Ta
A bove
mf f mf
3 _
~~~~ mfmf
i
m
Is
rng
p.--
ppp mp
le
'p.
A boe
A
-
-hove
i
36
Soprano~
and be low.
Alto 7and be low.
Tenor
and be low.
Bass
and be low.
_- -e
Flutes s 4 log0.
Harp I -Timpani
BassDrum
Chimes
Gong
Susp.Cym.
Triangle
Tape
mf
-0-
- $-
.......
m "i--
a
Soprano
Alto
Tenor
Bass
1sFlutes2
3Flutes4
0r. 0
L_______
Harp
Timpani
pBass
Drum
Chimes
Gong
Susp.Cym.
Triangle
Tape
37
1I_Iw
s
L $
I I
'r - C
-A--
/".,
..
1I. Loud Thundering Storm41 (j= 48-50)
Motto rubato mf ,
Soprano
Alto
Tenor
Bass
Flutes 1
Flutes4
Tacets
38
Su-
Tutti
j uajje ctve Slo mf
Proud Queen of the Earth Gods, Su --
------------Su-
4 48-50)
p ppp
p PPS
4
Harp Mp
Timpani
SasDruy
Cymbal
Gon
SuspCym
Triangle
Crotal
Tap
I 1
I
m
39
Soprano
Alto
Tenor
Bass
Flutes 2
3Flutes 4
Harp
Timpani
BassDrum
Cymbals
Gong
SuspCym
Triangle
preme a - mong the Heav - en Gods. -----
prame a - mong the Hear - en Gods. --
preme a - mong the Heav - en Gods. ------
preme a - mong the Hear - en Gods.
Solo
mp
-A__
Tape
Hot=I ANN Iff
5 (I I
.I.
40
Soprano
Alto
Teno
Bas
Flutes
Flutes
Harp
Timpan
BasDrur
Cymbal
Gon,
Sus ;Cyn
Triangi
=72
=772
2
4
72)
in the distance
tsfz
pppSsm
s-
PPp pp PP -- ppP.n.
I.
SnareDrum
Brush1T1 . a a ) aa
PP
Tape
Forceful, marcato
12 f 3
41
3
Soprano I
Alto
Bass
Flutes 2
Flutes
Harp
Timpan
BasDrun
Cymbal
Gon
SuspCyst
Triangle
Tap
Loud Thun - der - ing Storm, Loud Thun - der - ing Storm, You
f 3
1411
Storm, YouThun -der - ingLoudLoud Thun - der - ing Storm
A'
Tenor
3
Loud Than - der - ing Storm
I fZ40 ib- 1 I___________I 1 T T I
3 Loud Than - der - ing Storm,Loud Thun - der - ing Storm,
i
mf P-mf
f
la
I..f
e -
(change to Wind chimes)
Pe
Loud Thun - der - ing Storm,
3I
i s
15
Soprano
Alto
Tenor
Bass
Flutes 2
3F lutes4
Harp
Timpani
BassDrum
Cymbals
Gong
Suip.Cym.
Triangle
Wind Chimes(metal)
mf
Pour pourmf
Pour pour
Pour pour your
I
mp
a-
mp ~ppp
42
Tape
I
Pour pour
43
Lightly, whispering, not together18
Soprano
Alto
Tenor
Bass
Flutes 2
3Flutes4
Harp
Timpan
BaaDrun
Cymbal
Gon
SuspCyn
Triangl
Wind Chim
TaP
R ain, ran, rain, rain .. .
Rain, rain, rain, rain
mf
0 - ver all the lands and all the peo - pe.
rain rain
R usting griss snd
(upper rgse) Jv -. J , J J "r, ~ . / . .
Randon pitches, plucked
a
,n
Is
as
P
I.
ep
Les'
.5
'Yyl
r
44
4ji QJ= 110-120)I
Soprano
SE 4j =114120)
n-
I___
. .
the and
f f
o - ver all the land all the
mf f
-- ver all the 0 -- ver --
mf
0 -- e0 ---- ver all the land
Solo J= 110-120
41" O-
6 5
Alto
Tenor
Bass
Piccolo
3F lutes4
Harp MP
Timpani
BasDrun
Cymbai
Gong
SuspCym
Triangle
Tap
I
5
J
I
F21 (1 6
45
Soprano
Alto
Tenor
Bass
(solo
Piccolo
3Flutes4
Harp
Timpan
BaDDrur
Gon
Sus;Cyn
Tap
peo- pie
Pao - Pe
Harsh, overblown octaves
sfz :-- f
3-
Thunder Effect
fii f Sf--
ss
Tam-Tam
g
f
Snare Drum
f
Pe
Z40 6
ESoprano
Alto
Tenor
Bass
Flutes 1
3F lutes 4
Harp
Timpani
BassDrum
Tam-Tam
Gong
Susp.Cym.
Triangle
Forceful, marcato
Heav - ens trem - be
Heavy - ens tram - b e
f
You make - the Hear - ens tram - ble
You make- the Heav - ens tram - be
- 1. =1 1
i
p
...N-
Tape
46
" 1
47
Alto
Tenor
Bass
Flutes 2
3Flutes 4
Harp
o 3
Soprano
Heavy - ens trem - ble
Heav - ens trem - ble
You make the Heav - ens tram - ble You make the Heav - ens
You make the Heav - ens tram- ble You make the Heav - ens
rlI I II I
~I
I.
a
Timpani
BasDrum
Cymbals
Gone
SuspCyin
Triangle
Tap
J
i
48
31JSoprano
Alto
Tenor
Bass
Flutes 2
Flutes
Harp
Timpan
BasDrun
Cymbal
Gon
SuspCyn
Triangi
Tap
Hear ens tram - ble Earth - quake Earth - quake
tram - bt Earth - quake Earth - quake
tram - ble Earth - quake Earth - quake
31
3
01
e
Pal-
Earth - quakequakeEarth -Heav ens trem - ble
49
Li ,'~/S>~i.36 f'
You make the Hesv - ens tram - ble and the Earth - quake You make theHeavens
You mak1 th He1 -en
You make the Heav - ens trem - ble and the Earth - quake
F12-1 -ta
You make the Heav - ens
You make the Hea - ens
4-Flutes
_
Flutes 4
D4J_ _ _ _ __ _ _ _ _ _
-91A1Harp
Timpani
BassDrum
Cymbals
Gong
Susp.Cym.
Triangle
F
I H
-
==f
Tape
Soprano
Alto
Tenor
Bass
-j-
I
I
I
s0I
You make the Heav - ens
Intense
broadening -8~ ff39I
50
JSoprano
1 9s
_ _ _ _ _ _ _ I .
80) 00
ss
tram - ble and the Earth quake I Great Priest - eass
fff
tram - ble and the Earth quake ! Great Priest - ass
fff
trem - ble and the Earth quake ! Great Priest - ass
Great Priest - ass
tram - ble and the Earth quake 180
Alto
Tenor
Bass
Flutes 2
3Flutes4
Harp
Timpani
Ba~Drur
Cymba
Gon
SusCyr
Triang
m
1ts
p.n.
Ia
p _________________________-
Tape
--------------
a-
51
poco rit.R4Gra
SopranoPriet I
PP sub.
I I
ess !Who
Great Priest es IWho
pp sub.
WhoGreat Priest ean
PP sub.
-,
Great Priest - ess Who
Solo
X l--
4
Harp
P f
s
I.
I.
S
p~~i ________-___
I.
Alto
Tenor
Bass
Flutes 2
3Flutes 4
Timpani
BasDrun
Cymbal
Goo
SuspCyir
Triangle
Tap
Priest +--Great
I
I
Soprano
Alto
Tenor
52
h 2 J
---- can soothe
Bass
--- can soothe
Solo " M
Piccolo
mff
(solo)
3Flutes 4___
2RC 36N __________________logAN______ _____________
Harp
Timpani
BassDrum
Cymbals
Gong
Susp.Cym.
Triangle
Tape
Your trout - bled( solo)
- ' can soothe
.. II
I-_ _ _ _ _ _ _ _
0
lefts
5 w5 Aff111..Ibil
soothe
i
.
t
I -zv I
I
I
II
R fl
53
accel. ---- - - ----- - - ~= 12 0
Soprano -
Heart, your trou - bled Heart ?
Heart?
solo
Alto -
Heart, your trou - bled Heart ?
Tenor ---
Heart, your trou - bled Heart?
Bass -4-
Heart, your trou - bled Heart? 120)_
Piccolo
3_Flutes_ _
r-- U
Harp
Timpani
BasDrum
Cymbals
Gong
Susp.Cym.
Triangle
I V
120)
ppp f
mf.
mf
Tom-Tom
mp .
Tape
mp
:: If I
i
54
_____ ____ -
Flutes 2
Flutes 4
Harp Thunder Effect
if
Timpani
BassDrum
Cymbals
Gong
Susp.Cym.
Triangle
Tom-Tom
Tape
~5~ ZIT ~ L "
p
Mp mf
Tam-Tam
Soprano
Alto
Tenor
Bass
new" X I A
T
_
I a - . - 4c i
iL
1. 1EI
I I F-
-- 0 f
s
55
Soprano
Alto
Tenor
Bass
Piccolo 1
f
Fluts ________________
ii ______________ - IHarpThunder Effect
Harp
-.....', ---
- - p mf
pp mp
mf
mf
- .. _ _ _ _ _ _ __-_-
Tape
I -t i - -
Timpani
BassDrum
Cymbals
Gong
Sup.Cym.
Tam-Tam
-t'wwmmr-
f
druwl
2p q MFI _I-
I
E 55
Violent 56
589
(Articulate ill consonants very percuauiveYl
Soprano
You
Alto
You
Tenor -
You
'Bass You
Piccolo 1
ff
3Flutes 4
21 5)l
Harp f
Z 5.,2Timpani
BassDrum
p f
Cymbals
Gong
Susp. -_-
Cym mf
Triangle
Tape
57
h4 outed) (Shouted 2 JF61 ff
Soprano
Flash like light - ing! You
Alto
Flash like light - ning! You
Tenor
FlaSh like light ning You
Bass
Fash like light -- nnt o
Piccolo1
3Flutes 4
Harp
4 j Tune all drums to lowest possible pitch
Timpani -
Bass _. __.
Drum
Cymbals
mf
Gong
Susp. -Cym.
Triangle
f pA'.f
Tape
58
3 'broadlyI~ ffffSoprano
throw your fire I ri) a - cross the
AIIUAlto
fire r) a- cross the
throw_______y_________f_______
Tenor
your fire r a - cross the
Bass ___________________
ufire( r a - cross the
Flutes 1
F lutes _ _
Harp
I Lowest possible pitch) 5Timpani
BassDrum
Cymbals
Gong
Susp.Cym.
rnivngIe
Tape
pf
Tape ON
c
=POOAF Idor
i
1 '
fik
Approximate time between cues 10 59
Soprano
Earth
Alto
Earth
Tenor
Earth
33
BassEarth
Flues
H
Flutes
Timpani
Base
Drum Wind Sounds
Gong
SuspCym.
Triangle
Solo
Long "vocal" glissandos
Tape
Time = 0:00 Total elapsed time0:10
6015" 15",
Soprano
Alto
Tenor
Bass
Flutes 2
3Flutes
Harp
Timpani
BassDrum
Gong
Susp.Cym.
Triangle
I II -
Tape
(Li
Wind Sounds ad lib.
Bowed Tam-Tam
Bowed Vibraphone
I
i
0:400:25
I
I
61
15" 72); 71 Forceful
t fr 4
Soprano
YourI deaf - an - ing com - mnd
Alto
Yours deaf-en - ing com - mand
TenorYour I deaf - en - ing com - mand
Si
BassYour deaf - en - ing com - mand overblown
(Switch to Piccolo) Solo
Flutes 2
Flutes
Whisting Sounds tJ
Harp Thunder Effect Fingernail Scrapes
fff- --- - - -- - - -
Timpani
sfz !Bass
Drum
Wind Sounds
Bowed Tam-Tam
Susp.Cym.
Triangle
Bowed Vibraphone
Tape
0:55
62
Soprano Solo (approximate pitches):-74
Siren-like, piercing I(au)Soprano Ax- (Shouted)
whir tling like the South wind----- Splits a - part great moun - tains
Alto
Splits a - part great moun - tains
Shouted)
Tenor
Splits a - part great moun - tains
Shouted)
Bass
Splits a - part great moun - tains
solo * (ALL Flutes)
Piccolo
3Flutes
Harp
Timpat
BaDru
Wind Soun
Bowed Tam-Ta
SuCy
Trian
Bowed Vibrapt
Scrape strings with fingernails
'as-
ni
im
mds
am
sp.
Im.
gle
one
Tape
a. .
1
iHarp
Timpani
BassDrum
Cyrnbals
Gong
Susp.Cym.
Triangle
Tape
ikAF
63
Soprano
Splits a - part great mount - tains Splits a - part great mount - tans
Alto
Splits a - part great moun - tains Splits a - part great moun -- tains
Tenor
Splits a - part great moun - tains Splits a - part great mount - tains
Bass
Splits a - part great moun - tains Splits a - part great mount - tams
Flutes 2 ~
Flutes 4
I
I
1'13"
ndividually (NUT together) (Shouted)
You tram - pie You tram - pie
Sopi
T
Flu
Flu
Ha
Tin
Cy
Tri
rano
You tram - pie You tram - pie You tram - pie the dis - obe - di - ent
You tram - pie You tram - pie:
Alto 1
You tram -pie You tram -pie You tram - pie the dis - obe - di - ent
You tram - pie
enor
You tram - pie You tram -pie You tram - pie the dis -obe -di - ent
iff (Shouted You tram - pie
BassYou tram - pie You tram - pathe dis - obe - di - ent You tram - pie the dis -obe - di -ant
tes22
3tes 4
arp
npni
BassDrum
mbals
Gong
Suap.Cym.
'angle
Thunderclap
Tape
2:08
(Together!
64
65
S7B
tapproeimat pitches{Shouted
Soprano Heav-enHeavy - en
like a wild bull
AltoHeav -an
like a wild bul Heav - en
TenorHeav - an
like a wid bul
Bass
like a wild bull lHeav - an
Flutes 2
3Flutes
4
Harp
Timpani
BassDrum
Cymbals
Gong
Sup.Cym.
Triangle
4 t 11
Thunderclap
Tape
2:21
66S77
pitch cluster A\Sfz f3
Soprano ~
Hea - an and Earth tram - ble
Alto
Heav---an and Earth trm - blt
Tenor
Heavy .--- an and Earth trm - ble
Bass
Heav-- n and Earth trm - ble
Flutes 2
3i
Flutas44
Harp
Timpani
BassDrum
Cymbals
Tam-Tam --------- ..
PPP - ~~~~~~P
Susp.Cym.
Triangle
-0AD L
Tape
67
Alto/Mezzo-Soprano Solof
Ho - ly Priest - as, who can
mfSoprano
Ho - ly Priest - as
Tenor
Ho - ly Priest - ass
Bass
Ho - ly Priest - ass
Flutes 2
3Flutes4
Harp
Timpani
BassDrum
Cymbals
Gong
Susp.Cym.
Triangle
40III
Tape
Solo
Soprano
Alto
Tenor
Bass
68
soothe ---- your trou- bled heart?
- - - -
our-I
Flutes 2
Flutes 4
Harp
T itl iiM
Timpani
BassDrum
Cymbals
Gong
Suip.Cym.
Triangle
Tape
-o
- -w
69
Solo -" J '" I whisper
Soprano
Soothe your trou - bled heart, who can soothe -- your trou - bled
( Whiper)
Alta
Who can, who can, who can
(Whisper}
Tenor
Heart, who - can soothe your
{ Whisper f
Bass
Ho - ly Priest - ess, who can soothe your
Flutes
3Flutes 4
Harp
Timpani
BassDrum
Cymbals
Gong
Susp.
Cym.
Triangle
Rain
Tape
60" 70)78
Soprano
heart? Soothe your trou - bled heart?
Alto -_-
soothe your - heart trou - bled heart?
Tenor -_----
trou ---- bled heart?
Bass
trou - bled heart?
Flutes -
U3i
Flutes _ _ _ _ _ _ _ _ _ _ _ _ _ _O ___ ____ ___ ____
____________________________
Harp
Timpani
BessDrum
Cymbals
Gong
Susp.Cym.
Triangle
ThunderT-
Tape
4:00
p}
I
30"pp
Soprano
Enter individually (NOT together) on random pitches.
Imitate tape: Long glissandos lengths of varying duration) with vibrato.
Ah
Alto
Ah
Tenor
Ah
Bass
Ah-
Flutes 1
3Flutes 4
Harp
Timpani
BassDrum
Cymbals
Gong
Susp.Cym.
Triangle
i1
Tape
30 0 71
Ji
~~~~
. - II I I bili|hl
ii
b:004:30
30"72S81
PPP
Soprano
Alto
Tenor
Bass
Ii
Flutes 2
Fltutes 4
Harp
Timpani
BassDrum
Cymbals
Gong
Susp.Cym.
Triangle
- hner --
LPsing sound [ae
Tape
1'48"'73E] Very dramatic and intense
Alto/Mezzo-Sopr. Solo
Sopranoff( Spoken )
Your frghtful cryr (15)
Alto
Tenor
Bass
Flutes 2
Flutes
Harp
Timpani
BassDrum
Cymbals
Gong
Susp.Cym.
Triangle
Crashing surf
Tape
5:50 6:23 6:35
74
Soli
solon f (Spoken)
Soprano
Your quiv - er - ing hand
descendng from the heavens devours its victms
Alto
Tenor
Your quiv-
Bass
Flutes 2
3Flutes 4
Harp
Timpani
BassDrum
Cymbals
Gong
Susp.Cym.
Triangle
Rain, Thunder, and Surf continue
Tape
75
Soli
Soprano
caus -.. a s the mid - day heat to hov - or o - war -. over the sM.
Alto
Your quiv - er -- ing hand causes the mid-day heat -- to hov- or over the sea. ----
Tenor
-or - ing hand - causes the mid- day heat to hov ----- e' over the sea,------
Bass
Your quiv-er-ing hand caus-es the mid-day heat to hov-er over the sea.
Flutes 2
__________________
3Flutes 4
Harp
( _ _ _ _ __ _ _ _
Timpani
BassDrum
Cymbals
Gong
Susp.Cym.
Triangle
Tape
J
i
FA%3,* ti
I
Rain, Thunder, and Surf continue
I
I
I
If
f
76
SolopEmphatic, NOT fast
t
Harp
hra FKZ -- _
I I
Timpani
BassDrum
Cymbals
Gong
Susp.Cym.
Triangle
Tape
jh~II
J 63
Rain, Thunder, and Surf continue
r I
I
SooranoI
f(Spoken)
Your night-time stalking of the heavens ch ils the land with its dark breeze. Holy Inanna I
Alto
Tenor
Bass
Flutes
3F lutes4
0
77
Tutti(Response - Spoken together)
f f Solo
Soprano
Holy mnanna I i(Spoken)
Holy Inanna, the riverbanks overflow with the flood-waves of your heart!
Alto
Holy Inanna I
Tenor
Holy Inanna!
Bass
Holy Inanna I
Flutes 1
3Flutes 4
Harp
Timpani
BassDrum
Cymbals
Gong
Susp.Cym.
Triangle
Rain, Thunder, and Surf continue
Tape
78
TuttiSResponse - Spoken together I
Soprano
Holy Inanna the riverbanks overflow with the flood-waves of your heart
Alto
Holy Inanna, the riverbanks overflow with the flood-waves of your heart!
Tenor
Holy lnanna, the rverbanks overflow with the flood-waves of your heart
Bass
Holy Inanna, the riverbanks overflow with the flood-waves of your heart!
Flutes 2
3Flutes 4
Harp
Timpani
BassDrum
Cymbals
Gong
Susp.Cym.
Triangle
Rain, Thunder, and Surf Continue
Tape
79
TACET TO END OF TAPE
Soprano
Alto
Tenor
Bass
Flutes 2
3Flutes 4
Harp
Timpani
BassDrum
Cymbals
Gong
Susp.Cym.
Triangle
Bubbing, pitallstisc texture
pppp
*"'Crashing Surf -----
TapeRain and Thunder~
8:40
80
Soprano
Alto
Tenor
Bass
Flutes 2
3Flutes
Hlarp
Timpani
BassDrum
Cymbals
Gong
Susp.Cym.
Triangle
Bubbling, pointalistic texture
Tape
9:30
81
1'07"83
Soprano
Alto
Tenor
Bass
Flutes 2
3Fltutes 4________________________________:ii:
Harp
Timpani
BassDrum
Cymbals
Gong
Susp._ _
_ __
Cym.
Triangle
SegueDistant, ethereal choir
p p
I Repeats - Sustains - Fades
Bubbling, pointallisti texture rjin
Tape
10:25 10:59 12:06
Very slow and peaceful 82
50)...- - - f ~ - mpSolo
Ah -O-n the seventh day -
ppSoprano
Alto
Ah -- -
pp
Tenor
Ah
Bass
4 Ah
Flutes
Flutes
4
Harp
Timpa
BiDru
Cymba
Go
SuCy
Trian
41 =50
ni
assim
als
nq
mTsp.
(M.
TAPE OFF
Tape
Soprano
Alto
Tenor
Bass
1Flutes 2
FlutesA
Harp
Timnpani
BasDrun
Cymbal
Gorn
SuspCym
Triangl
solo i
when the crescent moon reach as its full - ness -
Ah
Ah
Ah
-I
g
I.I.
a
3
83
Tap
_ 1 . r _ .r---' ..
84
acceL - -
ALL sopr.
Soprano
Alto
Tenor
Bass
Flutes 2
3Flutes4
Harp
Timpani
BassDrum
Cymbals
Gong
Susp.Cym.
Triangle
Tape
You mount the steps to your high throne In all me - jest - y In all ma - jest - y
Ah 00
In all ma - jest - y , In all ma -jest - y
Ah
UT
Ah In all ma-jest-y, In all ma - est - y
Ah In all ma - jest - y, In all ma - jest - y
i
F---K
--
IF
r........- '""...----
I
II
Rsnln
85
Proclaiming
Soprano
Alto
Tenor
Bass
Flutes 2
3Flutes 4
Harp
Timpani
BassDrum
Cymbals
Gong
SuspCym
Triangle
Tap
TiV-
-i
In al ma - jest y Ma - jest- y
Ma- jest y, all ma -lest - Y Ma - jest-- Y
Ma - jest y, all ma - jest - y Ma -jest- y
In all ma - jest V
3
3 4 71
31 4---- _ _ _ _
.
86
Soprano
Alto
Tenor
Bass
Flutes 2
3F lutes A
- -pt- - - a- - =- -M-- - w
Come be -- fore-- you
Solo
POE- -M
-,
Gods of the and, come be - fore You Come be -- fore- you
4J _ ____ _____ _ ___ _______l
4
1
41ni
ss
m
Is
ng
p.M.
le
'pa
Iv - .~ i - :
Harp
Timpar
BaDru
Cymba
Gor
SusCyr
Triang
Ta
_
:F
E4J
87
Soprano
Alto
Tenor
Bass
Flutes 2
3Flutes
Harp
Timpani
ALL Sopr.)5i 0J l"
-...-. The gods of Heav - en and Earth kneel be - fore you-
Ah
0S
Ah kneel be - fore you--
Ah kneel be - fore you --
F* MOW
p Ad k________-______y__--
I~l! IBass
Drum
Cymbals
Gong
Susp.Cym.
Triangle
fl
Tape
ha m.h um is laim ama e edial II.I.ll i
Soprano
Alto
Tenor
Bass
The liv - ing crea - tures
Flutes 2
Flutes _
Harp
Timpani
BassDrum
Cymbals
Gong
Susp.Cym.
Triangle
The liv - ing crea - tures and the peO - pie and the peo - pie of
The liv - ing crea - tures and the peo - pie and the peo - pie of
T ~ tune
and the peo - pie and the pea - pie of
and the peo - pie and the peo - pie of
Tape
88
-t__"
r
I
I I -
-----
---------
-Al~
ThTii r
I
i e iv -ng I v !- tares
Egmf
I
89
1~ f
Su -- mer-- come be - fore you pa - rde be- fore-- you,-
Soprano
Alto
Tenor
Bass
Su -- mar -- come be - fore you pa rade be -- fore --- you,
Su --- mar - come be - fore you pa rade be - fore --- you,
Su -- mer - come be - fore you pa rade be -- fore---- you,
Flutes
3Flutes4
Harp
Timpani
BassDrum
Cymbals
Gong
Susp.Cym.
Triangle
Tape
z
~ ~
-F4
w i ... # P OP P i_.
Soprano
Alto
Tenor
Bass
Flutes 2
Flutes
Harp
Timpaui
BasDrur
Cymbal
Gon
SuslCy
Triangi
901 I33vo
caught --- in -- your gaze, And
caught - -in - your gaze, And
caught in - your gaze, And
caught in - your gaze, And
o21J4
44
s
m
Is
1.
I.
PeTal
J5
4mp sub.
Soprano
held in your ho - ly
Alto
heldin your ho - ly
Tenor
held in your ho - ly
Bass
held in your ho - ly
91
yoke. --
yoke.
yoke.
yoke.
Flutes
Flutes 4
Harp
Timpani
BasDrun
Cymbals
Gonr
SuspCym
Triangl
Tap
Is - I
fil
s
. _ _ _ _ _ _ _ _ _ _ _ _ __ _ _ _-
U
s@
]I[. Joy of Sumer
Soprano
Alto
Tenor
Bass
4j
_ _ _
04Flutes 2
3=Flutes -
41
Harp
4 -ParssiO
Vibraphone..... __________
41
Tape
92
0
.
.
.
.
....... .
............
...........
93
Soprano --
Alto
Tenor
Bass
p __
N ~~~~I__________
Flutes -
Flutes 4_-
Harp
Percussion
Vibraphone -
Tape
I
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94
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