Further to Buildings and music, and with Bruckner 7 featuring in my posts on Trauma: music, art, and objects and Celibidache, I recall Bruckner’s wonderful sacred a cappella motet Locus iste, composed in 1869 for the dedication ceremony of the votive chapel of the New Cathedral, Linz.
It made an impression on me while singing it in my school choir in the 1960s, but somehow all these decades later, hardly having heard it since, I still remember every note.
Locus iste a Deo factus est,
Here’s Harry Christophers with the Sixteen, a century after the first recording in 1907:
John Eliot Gardiner with the Monteverdi Choir is slower and more ponderous:
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Short and simple as Locus iste is (cf. The art of the miniature), even the wiki page gives a substantial analysis. Discursive analysis is so basic to the whole fabric of WAM, enshrined in academies, programme notes, and so on (see e.g. Heartland excursions); but it’s tangential to world and pop music—where it is no less (and no more) valid, but audiences in general feel less need, if any, to use it to valorise their direct experience (for world music, see Analysing world music, and Dream songs; for pop, see e.g. Abbey road; and for the schism between discursive and experiential approaches to Chinese religion, see Chau on “doing religion” in China).
So we can take or leave analysis of the hymns of the Li family Daoists (such as my Daoist priests of the Li family, ch.14—see e.g. here; or you may prefer just to watch my film), or I say a little prayer.
A cappella, harmonic, choral singing can be exquisite (e.g. Barber and Bach here). By contrast, choral singing in other cultures is usually monophonic, or heterophonic; and in his Cantometrics project Alan Lomax suggests cultural features of societies that may lead to a mellifluous or harsh timbre (among instances of the latter, see e.g. flamenco).
While Western culture also has its ceremonial fanfares, in Chinese ritual the consecration of temples and their statues is an exuberant and noisy affair. As Daoists perform the Opening to the Light (kaiguang 開光) ritual, the soundscape is filled with shawms and percussion “rousing the hall” (naoting 鬧廳). Here’s an instance from Malaysia, performed by emigrants from Yongchun in Fujian (cf. Fujian, 1961 and onwards) before an elaborate altar: