Composition
"I feel that talking about it trivializes it. I've been studying the Cabala, which is the mystical interpretation of the Torah. I've studied Buddhism and Hinduism and I've been practicing yoga and obviously I know a lot about Catholicism. There are indisputable truths that connect all of them, and I find that very comforting and kind. My spiritual journey is to be open to everything. Pay attention to what makes sense, be absorbed. For me, yoga is the closest thing to our real nature."
Madonna talking about the inspiration behind "Sky Fits Heaven" and "Shanti/Ashtangi".From a musical point of view, Ray of Light was a notable departure from Madonna's previous work, and has been described as her most "adventurous" record. Musically, Ray of Light contains elements of several different types of music, including techno, trance, house, disco, drum and bass, trip hop, ambient, rock, new wave, eastern and classical music. Vocally, the album was also a marked change from Madonna's previous work; as the singer underwent vocal training lessons for her 1996 film Evita, her vocals exhibited greater breadth and range, as well as a fuller timbre. In many songs, she also abandoned the vibrato which was present in her previous work, as can be seen in tracks such as "Frozen". Critically, it is said to have Madonna's best and fullest vocals.
The album's opening track and third single, "Drowned World/Substitute For Love" is a downtempo ballad drawing influences from jungle, drum and bass, trip hop as well as soft rock music. The title is inspired by the J.G. Ballard's post-apocalyptic science fiction novel The Drowned World (1962). "Swim", the second song, has a spiritual vibe. She sings, "Swim to the ocean floor / So that we can begin again / Wash away all our sins / Crash to the other shore". "Ray of Light", the third track and album's second single, is an up-tempo electronic dance-pop song which contains strong techno tendencies and influences of trance music. A "sonically progressive" track, it also incorporates elements of rock music, with a prominent electric guitar riff, and it has drawn comparisons to the work of Oasis. The melody also has several sound effects, including whistles and bleeps. Vocally, Madonna's singing has been described as that of a "club diva to celestial goddess". Its lyrical theme deals with issues such as freedom. The sixth track "Nothing Really Matters" is an up-tempo dance track which contains influences of techno.
"Shanti/Ashtangi" is a Hindu Sanskrit prayer and up-tempo techno song, sung by Madonna with an Indian accent over a driving dance rhythm. The techno dance track features Madonna singing the adapted version of Shankaracharya entirely in Sanskrit, with lines such as "Vunde gurunam caranaravinde/Sandarsita svatma sukhavabodhe". "Frozen", the ninth track and album's first single, is a mid-tempo electronic ballad which has a layered sound enhanced by synthesizers and strings. Musically, it is strongly inspired by different forms of classical music, notably contemporary classical music such as neoromanticism, as well as Italian opera composers and pieces such as Puccini's Madama Butterfly and Verdi's Aïda. The song additionally contains ambient qualities, a moderate dance rhythm during the chorus and techno-influenced beats towards the end. Madonna's vocals throughout the song lack vibrato, and have drawn comparisons to medieval music. Lyrically, the song is about a cold and emotionless man; nevertheless, subtexts have been noticed. According to Jarman-Ivens, lyrics such as "You're frozen, when your heart's not open" reflected an artistic palette, "encompassing diverse musical, textual and visual styles in its lyrics."
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Famous quotes containing the word composition:
“I live in the angle of a leaden wall, into whose composition was poured a little alloy of bell-metal. Often, in the repose of my mid-day, there reaches my ears a confused tintinnabulum from without. It is the noise of my contemporaries.”
—Henry David Thoreau (1817–1862)
“Modern Western thought will pass into history and be incorporated in it, will have its influence and its place, just as our body will pass into the composition of grass, of sheep, of cutlets, and of men. We do not like that kind of immortality, but what is to be done about it?”
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“Give a scientist a problem and he will probably provide a solution; historians and sociologists, by contrast, can offer only opinions. Ask a dozen chemists the composition of an organic compound such as methane, and within a short time all twelve will have come up with the same solution of CH4. Ask, however, a dozen economists or sociologists to provide policies to reduce unemployment or the level of crime and twelve widely differing opinions are likely to be offered.”
—Derek Gjertsen, British scientist, author. Science and Philosophy: Past and Present, ch. 3, Penguin (1989)