Traditional Chant in Popular Culture
Chant is a popular component of film scores, such as The Lord of the Rings film trilogy by Howard Shore, Star Wars: Episode I: The Phantom Menace by John Williams, Ghost in the Shell by Kenji Kawai, and Man vs. Godzilla by Akira Ifukube, and video game scores such as the Halo series by Martin O'Donnell and Michael Salvatori.
While authentic traditional chant has occasionally figured into modern popular music in brief intros, interludes or atmospheric background usage, one of the earliest notable, fundamental uses of traditional chant in modern pop came from Enigma, who sampled Gregorian chants over trance beats for a successful series of albums and singles. Their 1990 debut single "Sadeness (Part I)" became one of the biggest dance and pop music hits of the year, topping charts around the world, while their song "Return to Innocence" uses a chant in the Taiwanese Aboriginal language Amis.
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Famous quotes containing the words traditional, chant, popular and/or culture:
“There are two kinds of fathers in traditional households: the fathers of sons and the fathers of daughters. These two kinds of fathers sometimes co-exist in one and the same man. For instance, Daughter’s Father kisses his little girl goodnight, strokes her hair, hugs her warmly, then goes into the next room where he becomes Son’s Father, who says in a hearty voice, perhaps with a light punch on the boy’s shoulder: “Goodnight, Son, see ya in the morning.””
—Letty Cottin Pogrebin (20th century)
“With the holders holding my hand nearing the call of the bird,
Comrades mine and I in the midst, and their memory ever to keep, for the dead I loved so well,
For the sweetest, wisest soul of all my days and
lands—and this for his dear sake,
Lilac and star and bird twined with the chant of my soul,
There in the fragrant pines and the cedars dusk and dim.”
—Walt Whitman (1819–1892)
“Fifty million Frenchmen can’t be wrong.”
—Anonymous. Popular saying.
Dating from World War I—when it was used by U.S. soldiers—or before, the saying was associated with nightclub hostess Texas Quinan in the 1920s. It was the title of a song recorded by Sophie Tucker in 1927, and of a Cole Porter musical in 1929.
“To assault the total culture totally is to be free to use all the fruits of mankind’s wisdom and experience without the rotten structure in which these glories are encased and encrusted.”
—Judith Malina (b. 1926)