Noise Liturgy
x: LORD, open my lips.
All: And my mouth will proclaim your praise.
(Repeat 3x’s)
1
x: Silence. Movement.
a. At the fullness of time: "Lauds"
b. Then, at the fullness of time: "Terce"
c. Then, at the fullness of time: "Sext"
d. Then, at the fullness of time:"None"
e. At the fullness of time: "Vespers"
2
x: LORD come to my assistance.
All: Make haste to help me.
x: Movement based on text "Noise" by Jacques Attali
a. Begin white noise after antiphonal response. End at “The trap is closed”
b. Reads text about Noise (see paragraphs below).
c. Begin white noise after antiphonal response. End at “The trap is closed”
d. Begin white noise after antiphonal response. End at “The trap is closed”
e. Begin white noise after antiphonal response. End at “The trap is closed”
3
x: LORD come to my assistance.
All: Make haste to help me.
x: Play an instrument.
a.
b.
c. Use words and sounds as a sacrifice to God.
d.
e.
4
X: LORD come to my assistance.
All: Make haste to help me.
x: Have a conversation.
a.
b.
c.
d. Initiate a conversation about a taboo or risky topic.
e.
5
X: LORD come to my assistance.
All: Make haste to help me.
L: Freestyle and movement
a. Freestyle and movement
b. Freestyle and movement
c. Freestyle and movement
d. Freestyle and movement
e. After antiphonal response, sing a familiar worship song.
X: May the LORD bless us, protect us from all evil and bring us to everlasting life.
All: Amen.
TEXT : noise jacques attali
Beginning in the eighteenth century, ritualized belonging became representation. The musician, the social memory of a past imaginary, was at first common to the villages and the court, and was unspecialized; he then became a domiciled functionary of the lords, a producer and seller of signs who was free in appearance, but in fact almost always exploited and manipulated by his clients. This evolution of the economy of music is inseparable from the evolution of codes and the dominant musical aesthetic. Although the economic status of the musician does not in itself determine the type of production he is allowed to undertake, there is a specific type of musical distribution and musical code associated with each social organization. In traditional societies, music as such did not exist; it was an element in a whole, an element of sacrificial ritual, of the channelization of the imaginary, of legitimacy. When a class emerged whose power was based on commercial exchange and competition, this stabilized system of musical financing dissolved; the clients multiplied and therefore the distribution sites changed. The servants of royal power, despite the occasional efforts of revolutionary institutions, were no longer in the service of a singular and central power. The musician no longer sold himself without reserve to a lord: he would sell his labor to a number of clients, who were rich enough to pay for the entertainment, but not rich enough to have it to themselves. Music became involved with money. The concert hall performance replaced the popular festival and the private concert at court.
The attitude toward music then changed profoundly: in ritual, it was one element in the totality of life; in the concerts of the nobility or popular festivals, it was still part of a mode of sociality. In contrast, in representation there was a gulf between the musicians and the audience; the most perfect silence reigned in the concerts of the bourgeoisie, who affirmed thereby their submission to the artificialized spectacle of harmony-master and slave, the rule governing the symbolic game of their domination.
The trap closed:
the silence greeting the musicians was what created music and gave it an autonomous existence, a reality. Instead of being a relation, it was no longer anything more than a monologue of specialists competing in front of consumers. The artist was born, at the same time as his work went on sale. A market was created when the German and English bourgeoisie took to listening to music and paying musicians; that lead to what was perhaps its greatest achievement-freeing the musician from the shackles of aristocratic control, opening the way for the birth of inspiration. That inspiration was to breathe new life into the human sciences, forming the foundation for every modem political institution.
