Some introductory notes....

Following is a paper submitted to Professor Judith Lochhead at Stony Brook University

in 2004 as part of my Ph.D. studies. It is a phenomenological analysis of Pauline
Oliverosʼ “Rose Moon” based on an audio recording of the 1978 performance at
Wesleyan University in Middletown, Connecticut. The paper was never prepared for
publication or published, though I did give copies to the Oliveros archives and Wesleyan
Universityʼs Olin Library. It is available here in this rough unpublished form.

In 2016 I interviewed a few participants from the 1977 performance at Wesleyan to see
what they remembered, in hopes of supplementing this paper for publication. Memories
were vague, general and clouded by time, if they remembered anything at all. I decided
not to pursue this further. Pauline Oliveros did an interview with Will Cameron about the
piece, available here:
https:// www.perfectwave.org/interviews-pauline-oliveros-by-will-cameron/

I am making this unpublished paper available in the hopes that someone might take this
project to the next step, which I believe would be to perform Rose Moon, make
complete video documentation of the performance and videotape detailed interviews
with all participants concerning their experiences directly after the performance." This
would enable the in-depth phenomenological analysis that is impossible with merely a
score and an audio recording. I also think it would be an excellent subject for a
documentary film.

In the following paper, Charts 1 and 8 are missing. Chart 1 was the cover from the score
to Rose Moon, which is a diagram of the mandala. I cannot provide this without
permission of the publisher (however, it is available at the above link to the Will
Cameron interview). Chart 8 was a handmade version of the mandala with a rotating
inner wheel and a small post-it note so that the user could find results of various
scenarios. I have not recreated this for the digital version.

Judy Dunaway
March 26, 2017
 An Analysis of

the 1978 Performance of

Pauline Oliveros’

“Rose Moon”

at Wesleyan University

Judy Dunaway

State University of New York at Stony Brook

2004

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 Table of
Charts (specific material) and
Diagrams (structural overviews)

(Tables and charts are located at the end of the paper.)

Chart 1 - The Mandala Layout

Chart 2 - Cycle/Revolution Chart (“Who Has the Moon Rattle?”)

Chart 3 - Examples of Cuers’ Percussion Sounds in Cycles One and

Three

Chart 4 - Cuer Percussive-Vocal Timings (Examples from Cycles One and

Three)

Chart 5 - Temple Drums and Cambodian Rattle in the First Cycle

Chart 6 - Third Cycle, West Revolution: Chart of All Performers’ Sounds

Chart 7 - Third Cycle, Southwest Revolution: Chart Showing Irregular

Nature of Processors’ Activities

Chart 8 - The Processor Wheel

--------------

Diagram 1 - The Rhythmic Matrix

Diagram 2 - The Vocal Matrix

Diagram 3 - The Ending Matrix

I. Introduction

A. Commission and Premiere Performance

In 1977, Pauline Oliveros received a commission from Wesleyan University to write a
composition for the Wesleyan Singers (directed by composer/singer Neely Bruce). The members
of the Wesleyan Singers are drawn not only from the music department, but from the Wesleyan
community in general. There are no auditions for the Wesleyan Singers, and any student or
Wesleyan alumni may participate in the group. Neely Bruce selected Oliveros for the
commission, in part,1 because she was interested in writing works that were performable by
amateurs and non-musicians (as well as music students). In this work, some members of the
Wesleyan Singers engage in movement and/or perform on percussion instruments, in addition to
or instead of singing.
“Rose Moon” (1977) was premiered by the Wesleyan Singers in the spring of 1978 at the
World Music Hall at Wesleyan University. For the premiere, the performance group also
included composer Pauline Oliveros (as the “Leader of the Procession”), Mr. and Mrs. Neely
Bruce (as the “Moon Figures”), performance artist Linda Montano (as one of the “Lunatics”) and
Sharab, a Tibetan Monk (appearing as a member of the “Procession”).2
The Wesleyan premiere was recorded on two reel-to-reel tapes.3 The first tape ended
near the middle of the over two-and-a-half hour performance, resulting in a gap in the
documentation of less than one minute4 while the completed reel was removed and a new reel
added. Approximately 20 minutes from the end of the premiere, the second reel-to-reel tape ran

1Other reasons for the selection were Wesleyan’s strong interest in experimental music and Oliveros’ friendship
with another faculty member at Wesleyan, Alvin Lucier.
2 E-mail interview by author with Neely Bruce, November 29, 2004.
3The Music Library at Wesleyan University generously provided a digital copy of this performance for my analysis
of Rose Moon.
4 See Endnote.
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out, and no other tape documentation exists beyond that point.5 The following analysis is based
on the score and supported with evidence from the existing tape documentation of the premiere.

B. The Score
In her work “Rose Moon,” Pauline Oliveros conveys her composition by way of text
instructions and a diagram of the arrangement of the performers. The actions and placement of
the performers generate a chain of events that dictate or influence the actions of other performers
in the piece. Because this chain of events is not always linear and/or one-dimensional, it is best
represented by the word “matrix,” which means something within or from which something else
originates, develops or takes form.
The score does not employ standard Western notation. Typical delineations such as key,
harmonic material, specific pitches, and time signature are not specified. Oliveros influences
pulse, tempo, general pitch range, dynamics and form in this work by dictating the placement,
movement and interactions of the participants. While no single person functions as an overall
“conductor,” each performer has some influence on the interpretation of Oliveros’ text
instructions. Because there is no tradition of performance of this type of work, Oliveros also
makes clear the procedure for other factors such as the entrances and exits of the performers and
the lighting, so that the work is received in the proper respectful setting by the audience and
participants. The costuming of the performers is also specified, not only because there is not a
tradition to follow, but also to support aspects of form and interaction the piece.

C. The Difference Between Wagner’s Gesamtkunstwerk and “Rose Moon”

The purpose of Wagner’s “Gesamtkunstwerk” (total artwork) was to convey the master
composer’s ideas by controlling every aspect of the drama (libretto, scenic design, staging, action
and music). There was very little, if any, performer choice involved, and all music was
predetermined by the composer. The form of this “total artwork” was based on the story line of a
German myth. In “Rose Moon” there is no story, and thus no dramatic action. “Rose Moon”

5 See Endnote.
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uses traditional “theatrical” elements such as movement, placement and costuming to define,
limit or provide the impetus for the actual music being performed, rather than to support a story
line.
Most of the music in “Rose Moon” results from the creative contributions of the
individual performers growing out of the general structures that Oliveros sets forth. The fact that
these structures and resulting interactions are not in traditional Western notation or format does
not mean that this is not a musical composition. Such a presumption would be racist, as most
non-Western cultures have created their music for centuries through methods other than music
notation. Indeed, Wagner’s emphasis on the genius of the Aryan race, who created and
encouraged many of the techniques of maximum control in Western music,6 resulted later in his
immense popularity with the Nazis.
However vastly different, Wagner and Oliveros do share an interest in transmitting their
own personal philosophies to others through their work.7 Wagner does this through total control
of all artistic elements, and Oliveros does this by guiding participants through a process of
exploration of individual experience and group dynamics. Wagner’s methods are overt and
obvious, while Oliveros’ matrix of control is subtly manipulative.

D. The Significance of the Mandala in the Work of Pauline Oliveros: Attention and
Awareness
In the early 1970’s, Oliveros researched ways to increase concentration and focus in
relation to music, which led her to the practice of meditation. In 1975 she states:
“The skill of a musician depends on the synthesis of aural, visual, and somatic attention
and awareness. He or she must be able to hear mentally as well as physically, see and interpret
musical symbols and cues, respond correctly as a singer, conductor or instrumentalist. Attention
and awareness may be tuned outward toward the environment or inward to the imagination and

6 i.e., time signatures, metronomic indications, tempered tunings, and extensively detailed notational parameters.
7 They also have in common an interest ancient myths, which culminates in both composers having a ritualistic
aspect to their work. Wagner’s interest in myths has to do with German nationalism and the power of the individual,
while Oliveros’ interest in myths came out of her studies of non-Western cultures, self-exploration and group
dynamics.
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memory. Aural and somatic attention can be turned outward while visual attention is turned
inward or any combination of these modes of attention might be in effect. An individual whose
attention and awareness is turned entirely inward might be considered to be out of touch with
reality. An individual whose attention and awareness is turned entirely outward might be
considered to be out of touch with himself. What is necessary for growth and development for
the whole person is the ability to focus attention and find awareness in each area, inward or
outward, flexibly, or at will in any combination of the modes. The separation of attention and
awareness is a useful concept.”8
Oliveros studied psychologist Carl Jung’s “model of consciousness” that included
personal and collective consciousness, as well as the collective unconsciousness during dreams
and fantasy states. She found that the “mandala,” a circular image used as a meditation object in
Tibetan Buddhism and other religions, was also central to the work of Jung. When used in
meditation, the mandala’s center presumably attracts the viewer’s focus and functions as a point
where attention and awareness can become in balance. For Jung, the mandala represented the
entire being, and he believed realizations of it in dreams were paths to understanding ones inner
self. Forms and quadrants inside the mandala (often represented in religious meditation
mandalas) revealed additional details about the psychology of an individual or group.9 Since
the 1970’s, Oliveros has frequently employed various forms of the mandala in her work. She
sees the use of the mandala arrangement as a way of increasing the awareness and concentration
of the participants in her work, and thus giving rise to a group consciousness.
In the mid-1970s Oliveros received a Guggenheim fellowship to study ritualism in Native
American music. Through this Oliveros found that ceremonial structures were ideal for creating
works that could include participation by amateurs and non-musicians (as well as musicians).
She combined this with her studies of meditation and the mandala structure to create pieces that

8From copy of grant proposal addressed to Dr. Paul Saltman, Vice Chancellor/Academic Affairs, University of
California at San Diego, dated February 12, 1975. Taken from “The Music of Pauline Oliveros,” Heidi von Gunden
(Metuchen, NJ and London: The Scarecrow Press, Inc.,1983), p. 93-94.
9 Ibid.
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she believed could reveal the sounds of the inner psyche of the individual (a process Oliveros
calls “psychosonics”).10
In Rose Moon, the performers must be keenly aware of the sounds and/or actions of other
participants in order to know what sounds and/or actions they are to perform next. The text
instructions must be committed to memory in order to smoothly carry them out. Extraordinary
levels of concentration are required of the performers in order to realize the instructions that
Oliveros sets forth. Oliveros specifies in the score that a concert performance of the piece
should last about two hours. The Wesleyan premiere lasted around two and a half hours. The
long duration of the work even more greatly increases the exceptional amount of physical and
mental stamina required.11

II. Form and Structure

A. The Mandala Arrangement in Rose Moon: Placement, Movement and Attire as Methods
of Musical Arrangement
In “Rose Moon,” Oliveros arranges the performance area in the “mandala” formation
(see Chart 1). Oliveros asks that the mandala be at least 25 feet in diameter, in order to
accommodate all the activities. Brightly colored cushions are placed at eight directional points:
North, Northwest, West, Southwest, South, Southeast, East and Northeast (a flexible way to
make a uniform seating arrangement that accommodates the exact size of the mandala). A cloth
tent, twelve feet high and four feet in diameter, is in the center of the mandala. The cloth tent is

10 Von Gunden, p. 121-122.

11 In the text score, Oliveros makes contradictory statements concerning the length of the performance. On the first
page of the score she says the performance should take place from “moon up to moon down.” But then she says on
the next page that the Cuers’ instruments should be durable enough to last for the duration of “the performance time
(over two hours).” In the first footnote on page 3 she says “Two runners may alternate in relay fashion every two
cycles (approx. 30 minutes).” If we take this footnote literally, with 15 minutes for each of the eight cycles, this
means that the performance should last two hours. When asked to clarify this issue, Oliveros stated the following
(via e-mail interview with the author, April 13, 2004): “Rose Moon is intended for moon up to moon down. A
concert performance is about 2 hours. The “moon up to moon down” version has not yet been done. Cycles could
fluctuate in length during a long performance.” The Wesleyan premiere lasted over two and a half hours.

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surrounded by four triangular quadrants, marked off with blue, red, yellow and green bedsheets
placed on the floor (see Chart 1). The cushions, tent and cloths help to delineate certain aspects
of musical form, orchestration and acoustical effects in the piece.
For the premiere of “Rose Moon” in the World Music Hall at Wesleyan University, the
audience sat on concrete bleachers that look down on a large performance area. The bleachers
are located only on the West side of the hall, giving a restricted view of the activity (both visual
and aural), however, the raised bleachers do allow audience members on the upper tiers a birds-
eye-view of the mandala. According to Neely Bruce, the audience was stationary throughout and
did not participate in the piece.1213
The piece begins with what Oliveros calls a “ritual entrance.” Oliveros’ procedure has
the same basic function as that of the entrances in a traditional concert -- to bring the performers
to the attention of the audience and to put them in the best location for acoustic effect.
However, Oliveros’ mandala arrangement provides a different visual and aural perspective than
the traditional concert situation.
During the “ritual entrance,” the performers (each group given a special name in the
score to specify their function) take their places on the stage in the following order:

1) Eight “Cuers,” who sit on the cushions marking the eight direction points in the mandala.

2) Twelve “Cloth People”, divided into four groups of three people standing in each triangular
quadrant that surround the center of the mandala (marked with the colored bedsheets).

3) Six “Processors” (minus the “Leader”) who begin walking in a clockwise direction around
the center of the mandala, in a path between the “Cuers” and the “Cloth People.”

12 E-mail interview with Neely Bruce, November 29, 2004.

13On page 2 of the score, Oliveros states “All present are invited to say or chant the names of the moon
during cycles by tuning to sounds from performers, and to help mark the end of each cycle by calling the
names of people they might wish to remember.” It is unclear in the score whether “all present” includes
the audience. In the case of the Wesleyan premiere, it did not include the audience.
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4) Two “Moon Figures,” who enter the performance area draped in green cloth, go inside the
cloth tent in the center and, once they are hidden from view, disrobe.

5) The “Leader” of the “Processors,” who joins the “Procession” moving clockwise around the
mandala. (Both Leader and Processors combined are referred to as the” Procession.” Members
of the Procession minus the Leader are referred to as the “Processors.”)

When the “ritual entrance” is completed, a “Runner” starts circling the mandala in a
counterclockwise direction. This marks the beginning of the piece.
The performers’ clothing is specified in the score. Black attire is typical for a traditional
orchestra. But in this piece, where the performers are moving about and the arrangement of the
players serves to generate the sonic material, it is necessary to signal clear visual distinctions
between groups. The Runners circling the periphery of the mandala wear track clothes. The
Cuers and Cloth People, all of whom function within fixed and unmovable areas, wear white
pants and white tee shirts. The Processors (who follow the Leader in the Procession) wear green
colored street clothing,14 creating a moving colored divider between the Cuers and Cloth People.
The Leader (of the Procession) wears black pants and a white tee shirt, so that she is easily
identifiable from the other members of the Procession and the other performers.
For most of the performance (save the ritual entrance and exit ) the two Moon Figures are
enclosed inside the tent, obliterating their view of the other performers so that they are more
sensitive to sound. While inside the tent, the Moon Figures are nude,15 making them more
receptive to their own vulnerability and emotions which serves as the basis for much of their
improvisational sounds.

14A Tibetan Lama appeared in the premiere of “Rose Moon” at Wesleyan University and Oliveros adjusted the
costuming instructions in the text score in order to accommodate his need to wear his traditional attire (rather than
green street clothes) in the Procession. The piece does not require a Tibetan Lama. He is not mentioned at any other
point in the text score.
15As the score demands, the Moon Figures were nude inside the tent for the Wesleyan premiere. The Moon Figures
enter and exit the tent draped in green cloth.
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B. Orchestration
The performers in the piece are broken into six groups which are assigned certain names
in the text score: Runners, Cuers, Procession, Cloth People, Moon Figures, Lunatics. These
groupings allow the composer to conveniently assign certain instrumental and/or vocal functions
to groups of players. While some groups have solely a percussive or vocal function, other
groups have both percussive and vocal functions. Unlike a traditional orchestra or chorus,
singular instrumental/vocal layers are not relegated to separate groups of individuals.
The groupings, along with their primary orchestral functions are as follows:

-- Two “Runners” - Percussive sounds. The Runners are each wearing an elaborate sound belt
which is made of macrame cord with shells, bells and bamboo attached. With each step, the
runner’s body shakes the sound belt, creating a steady rhythm. The Runners alternate in a relay
fashion, with one runner relieving the other approximately every thirty minutes. Only one
Runner runs at a time.

-- Eight “Cuers” - Percussive sounds (including vocal sounds made percussively). The Cuers sit
on cushions at eight specified points in the mandala, each of them demarcated by their
directional placement in the mandala shape. The Cuers are directed to use a percussion
instrument that “produces loud, incisive, dry sounds.” The selection of the exact instrument is
left up to the player. In the Wesleyan performance, the following percussive instruments were
selected:

NORTH CUER - Nonpitched woodblock

NORTHWEST CUER - Pitched woodblock (a minor 3rd above Northeast Cuer.)
WEST CUER - Softer pitched woodblock or sticks.
SOUTHWEST CUER - Slapper.
SOUTH CUER - Frame drum.

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 SOUTHEAST CUER - Plastic box struck with stick (very soft).
EAST CUER - High pitched woodblock.
NORTHEAST CUER - Pitched woodblock (a minor 3rd below the Northwest
Cuer.)

Percussive vocal sounds made by the Cuers later in the piece include short non-verbal shouts and
calling out names.

-- Seven members of the Procession (the “Leader” of the procession plus six “Processors” who
follow her) - Percussive sounds (including signaling end of cycles) and vocal sounds (chanting).
The members of the Procession play the following instruments (one instrument per player):

“Moon Rattle” (played by the “Leader”) (constructed from paper mache and dried
beans). The sound is similar to Native American ritual rattles. It is loud and can usually be
heard clearly through the other instrumentation.
Two Japanese Temple Drums. These traditional drums have a very rich deep sound.
They are somewhat tuned, but not as resonant as a tympani. Though they are carried like a
marching band bass drum, the sound is softer and less abrasive.
Two shell trumpets (conch shells). The conch shells sound similar to medieval trumpets.
The sound is loud and very pure.
One large Cambodian rattle. This rattle has higher frequencies than the Moon Rattle, but
is much softer in volume.
One pair of Tibetan “wrathful” cymbals.16 These cymbals sound similar to marching
band cymbals, but with an overtone series more comparable to a gong.

The conch shells are only blown as cues for the end of each cycle, so in this sense, they only
function as percussion instruments. They are never directly used in a harmonic or melodic sense.

16According to Neely Bruce (e-mail interview with author, Nov. 11, 2004), these were played by Sharab, the
Tibetan Lama, in the Wesleyan performance.
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The six Processors (not the Leader) also vocalize by chanting at various points in the piece
(more discussion later).

-- Twelve “Cloth People” - Vocal sounds. The Cloth People are in four groups of three people
each that surround the center of the mandala. The “Cloth People” sing long tones that fall in a
happenstance way into tone-clusters or chords. These improvisations are based on the sounds
made by the other performers in the piece.

-- Two “Moon Figures” - Vocal sounds. The “Moon Figures” are two vocalizers, one male and
one female. They have lengthy instructions on how they should conduct their vocalizing, which
is a combination of vocal sounds and chanting.

-- “Lunatics” - In the second half of the piece, an unspecified number of Lunatics enter
temporarily, who may make any sorts of sounds they desire. As this is a special scenario, I will
save discussion of the Lunatics for later in the paper.

C. The Two Primary Timbral Layers: Percussive and Vocal

Instrumentally and sonically, the listener can observe two main timbral layers:
percussive and vocal. Within each of these timbral layers, matrices17 of activity take place. The
percussive layer is characterized by striking of percussion instruments, short shouts by
performers and blowing of the conch shells at cadences. This layer utilizes fixed properties
whose value determines the characteristics or behavior of, what I refer to as, the “Rhythmic
Matrix.” The vocal layer is characterized by chanting, long tones and other improvised vocal
sounds. This layer works with more flexible parameters18 that generate an awareness of other
performers as well as sensitivity to personal physical, emotional and psychological states. The

17Websters’ dictionary defines a “Matrix” as “something within or from which something else originates,
develops or takes form.”
18Websters’ dictionary defines “Parameter” as “a physical property whose value determines the
characteristics or behavior of a system.”
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interactions in the vocal layer can be viewed as the “Vocal Matrix.” By dividing the timbral
material into these two categories and deducing the chain of interactions19 within them, one can
more easily understand the ways that Oliveros manipulates the overall circumstances to achieve
her desired results.

D. Revolutions
When the “ritual entrance” is completed, the first “Runner” starts circling the mandala in
a counterclockwise direction. The Runner’s “soundbelt” shakes in the rhythm and tempo of the
Runner’s steps. Each time that the Runner, or any other member or element of the composition,
makes one complete orbit around the center point of the mandala, this is referred to by
Oliveros as a “revolution.”
Because of the mandala shape, the Runner’s sound grows louder and softer with each
revolution, as he/she draws nearer to the listener and then moves farther away. Oliveros also
achieves a spatial effect (as with panning of speakers in electronic music) through the Runner’s
constant circular movement.
After the Runner has established a regular pace in circling the mandala, the Cuers begin
to sound their percussion instruments for one strike when the Runner passes behind them. They
cannot see the cuer, but have to sense his/her passing aurally. There is no specific time for the
Cuers to start, so the build-up is gradual. In the live premiere by the Wesleyan Singers, it takes
approximately seven revolutions by the Runner before the Cuers begin. After this, only the
Northeast Cuer begins. After another two revolutions by the Runner, the Northwest, South and
East Cuers join in. In the next revolution, the Southwest Cuer starts to sound. By the end of the
second set of seven revolutions by the Runner all the Cuers have joined in.
As with the Runner, the circular placement of the Cuers (although fixed) influence the
dynamics perceived by the audience and other performers and give a sense of spatial placement.
The rhythm of the Cuers is not metronomic, but is based on the slightly irregular pacing of the
runner and the moment the passing is perceived.

19 Websters’ dictionary defines “Interaction” as “mutual or reciprocal action or influence.”

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E. Cycles
Once the Leader of the Procession feels that the Cuers have established their
“rhythm” (which in the case of the Wesleyan Singers, took a total of seven revolutions to build
up and two additional revolutions with all Cuers sounding), then the first of what Oliveros calls
“cycles” begins. These “cycles” are the structural elements that underpin the entire piece.
A “cycle” in Rose Moon consists of sixteen revolutions of the Procession (not
revolutions of the Runners or Cuers). There are a total of eight “Cycles” in the piece.20 There is
a transitional period of 7/8 of a revolution at the end of each cycle. There are two exceptions to
this transitional rule however: 1) The piece starts with one complete revolution by the
Procession (rather than 7/8 of a revolution), and 2) 7/8 of a revolution is not done by the
Procession at the end of the Eighth Cycle.

F. The Rhythmic Matrix: Interactions in the Percussive Layer

(SEE DIAGRAM 1: RHYTHMIC MATRIX.) The Leader signals the beginning of the
First Cycle by shaking her “Moon Rattle” and starting the Procession, which moves slowly
clockwise (the opposite direction of the Runner and Cuers). The Leader shakes the Moon Rattle
continuously, but is not instructed to shake it in the same rhythm as the Runner. (In the Wesleyan
premiere, the Moon Rattle slightly mirrors the pace of the Runner for most of the piece, although
sometimes it slows with the pace of the procession from the 16th revolution until the beginning
of the next cycle.) At the end of the first complete revolution by the Procession (the introductory
revolution, used only at the beginning of the piece), the Leader passes the Moon Rattle to the
North Cuer, who has been instructed in the score to “continue shaking it without a gap.”
In the Wesleyan premiere, it was apparently quite difficult for the Leader and Cuers to
pass the Moon Rattle between them seamlessly. The pass-off is usually audible due to one or
more of these factors: 1) a change or slight irregularity in the pulse of the shaking; 2) a change in

20Probably reflecting the eight phases of the moon: New Moon, Waxing Crescent, First Quarter, Waxing
Gibbous, Full Moon, Waning Gibbous, Last Quarter and Waning Crescent.
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the loudness of the rattle; 3) a small pause. Some examples of these gaps and/or irregularities
can be heard in the First Cycle on CD 1, Track 5 at 2:00 (Leader to Northwest Cuer), 5:37 (West
Cuer to Leader), 6:47 (Leader to Southwest Cuer) and 9:15 (Leader to South Cuer).
After handing off the Moon Rattle to the North Cuer, the Leader leads the Processors
around for one complete revolution, and then retrieves the Moon Rattle from the North Cuer.
After retrieving the Moon Rattle, the Leader then leads the Processors around for 7/8 of a
revolution and passes the Moon Rattle to the Northwest Cuer (the Moon Rattle is traveling
counterclockwise as the Procession travels clockwise). The Procession then travels around
another full revolution and the Leader retrieves the Moon Rattle from the Northwest Cuer, then
traveling around 7/8 of a revolution to pass it to the West Cuer. The Moon Rattle continues to be
passed in this manner to every Cuer in turn. (See Chart 2, First Cycle - line 6.)
When the Moon Rattle is returned to the North Cuer, this marks a total of 15 revolutions
(8 full revolutions plus 8 “7/8” revolutions) (see Chart 2, First Cycle - line 6, row S). At this
point, the end of the First Cycle is cued by the sound of the Leader blowing a whistle. As the
procession makes one full revolution (the 16th revolution, the final revolution of the First Cycle),
Oliveros instructs the Temple Drummers and Cambodian Rattle-player to play one beat on
passing each Cuer and the Tibetan Cymbals and Shell Trumpets to sound continuously. This can
be heard in the Wesleyan premiere recording, First Cycle, on CD 1, Track 5, starting when the
Leader whistles at 19:06. In the Wesleyan premiere, the Tibetan Cymbals and Shell Trumpets
apparently are not able or willing to make their sounds without pause during the revolution, but
rather interpret Oliveros’ word “continuous” as meaning “sporadically repeated.”
The Leader then retrieves the Moon Rattle from the North Cuer and leads the Procession
for 7/8 of a revolution to the Northwest Cuer. This 7/8 of a revolution is a “transitional” section
that is not considered to be part of an actual Cycle. When the Leader hands off the Moon Rattle
to the Northwest Cuer, the Second Cycle has begun. (See Chart 2, Second Cycle - line 7)
The pattern that the Moon Rattle follows to ultimately equal sixteen revolutions is not so
straightforward as the overall traveling of the Procession. The Moon Rattle is shaken for one full
revolution by a Cuer and then carried (and shaken) for 7/8 of a revolution by the Leader of the

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Processors. This happens eight times, leaving a “remainder” of eight “1/8” revolutions, which
equals a total of one revolution. This “remainder” revolution occurs when the Moon Rattle is
returned to the first Cuer of the Cycle at the end of the Cycle. (See Chart 2, line 14.)
When the Runner passes behind a Cuer who is shaking the Moon Rattle, the Cuer is
instructed to replace their usual percussion sound with a short, incisive vocal sound. In the
Wesleyan premiere, the Cuers shout non-verbal sounds such as “Ah!”, “Ha!”, “Ugh!”, “Yo!” or
“Whoo!” (the Northeast Cuer is particularly distinct for always using “Whoo!”). Sometimes the
Wesleyan Cuers’ voices are quite loud, and other times they are barely audible, depending on the
placement and vocal strength of the performer, and the density of other material happening at the
same time.
Chart 3 shows a timeline of Cuers’ percussive sounds in the First Cycle during the
Northwest Revolution in the Wesleyan premiere (CD 1, Track 5, 2:05-3:16). The times between
Cuers range from one to three seconds. These timings are not metronomic, but rather based on
the slight variabilities in the Runner’s speed and the Cuer’s sensitivity. The time it takes to
complete a revolution of Cuer percussion21 is rather consistently 13 seconds in the sample from
the First Cycle. However, on the same chart, we see that the percussion-sound revolution time is
faster in the Third Cycle, West Revolution (CD 1, Track 7, 1:50-2:14), demonstrating the
inconsistency of the Runner’s speed.
The speeds of the Runner and the Procession both affect the rhythmic and sonic
structure of the Cuers. The Runner cues the Cuers to sound. The Procession affects the passing
of the Rattle, and thus the decision as to whether a Cuer is making a vocal or instrumental sound.
The Runners are never told how fast they should run. The Procession is only told to move
“slowly” during the introduction, final revolution of the Cycle and transitional areas, and at a
“moderate pace” for the rest of the piece. This gives the overall layout of the percussive sounds
of the Cuers a time structure that is dependent upon the happenstance speeds of the Runners
(moving counterclockwise) and Procession (moving clockwise).

21 See page 7 for list of Wesleyan Cuers’ percussion instrument choices.

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 The number of times the Cuer shouts during her/his revolution is also dependent upon
both the speed of the Runner and the speed of the Procession. In the Wesleyan premiere, in the
1st cycle, the number of shouts during a revolution vary from four to six. In the 3rd Cycle
(which begins with the West Cuer), the number of shouts during a revolution vary between five
and six times (see Chart 4, row H). Each time a Cuer receives the Rattle, it takes a somewhat
different amount of time for the Procession to make a revolution. Additionally, the speed of the
Procession fluctuates slightly throughout the piece, causing differences between cycles. (See
Chart 4.)
In the Procession group of players, the rhythmic structure for the two Temple Drums and
the Cambodian Rattle is affected by the placement of the Cuers and the speed of the Procession.
The two Temple Drums and the Cambodian Rattle always play one beat when passing the North
Cuer, throughout the entire eight cycles. Additionally, they play one beat whenever they pass a
Cuer that is shaking the Moon Rattle. At times when a Cuer is not holding the Moon Rattle or
when the North Cuer is holding the Moon Rattle, the Temple Drums and Cambodian Rattle may
sound only once during a revolution.
Oliveros specifies the order of the Leader and Processors in her mandala layout (see
Chart 1). One Temple Drum is in third place behind the Leader, the Cambodian Rattle is fifth
place behind the Leader and the other Temple Drum is in last place. Except in the last
revolution, the Tibetan Cymbals and Shell Trumpets are silent. According to the score, after the
Moon Rattle is given to a Cuer by the Leader, the Temple Drum that follows her should sound
upon passing that Cuer. In the Wesleyan premiere, one Temple Drum sounded at a higher pitch
than the other. On the recording, the low Temple Drum consistently sounds first after the Moon
Rattle tradeoff throughout most of the two and a half hour performance, indicating that the low
Temple Drum is in third place behind the Leader. The high Temple Drum often is usually heard
after the Cambodian Rattle shakes, indicating that it is in last place.
Chart 5 shows that in the Wesleyan performance, in the 1st Cycle, each of the Temple
Drums and the Cambodian Rattle sound twice, each in sequence (CD 1, Track 5, 2:00-3:16).
This is because of passing the Northwest Cuer (who is shaking the Moon Rattle) and North Cuer,

!16
who stand in fairly close proximity to each other. During the Northwest Revolution, it takes
from 8 to 11 seconds for the Processor to travel from the Northwest Cuer to the North Cuer. The
soundings of the two Temple Drums and the Cambodian Rattle are separated by about 9 seconds.
The strikes by the Temple Drums and Cambodian Rattle may happen in between strikes/
soundings by the Cuers, or at the approximately the same time (see Chart 5).

G. The Vocal Matrix: Improvisational Interaction in the Vocal Layer

(SEE DIAGRAM TWO: THE VOCAL MATRIX.) The vocal layer of “Rose Moon” is
performed in an improvisational (rather than fixed) manner. However, Oliveros states specific
instructions for the vocal sounds to be used. Within Oliveros’ instructions, the performers
respond to other immediate elements in the performance and these elements are in turn based on
other active elements in the piece. This interaction constitutes the Vocal Matrix. The vocal layer
is performed by:
- Moon Figures chanting and making vocal sounds
- Cloth People singing long tones in contrast to other pitches performed
- Processors chanting (after First Cycle)
- Cuers calling names (from the Third to the Sixth Cycle)
- All participants calling names at the ends of cycles, beginning at the end of the Second
Cycle.

1. The Moon Figures

The Moon Figures begin vocalizing in the First Cycle. The Moon Figures are instructed
to choose a member of the Procession and begin vocalizing when this Procession member
passes. In this way, Oliveros uses movement and placement to generate the downbeat for the
Moon Figures.
The sound repertoire of the Moon Figures consists of 1) “the names of the moon in as
many languages as possible,” and 2) “a wide variety of non-verbal sounds that are the result of

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discrete emotional states.” For the latter category, Oliveros suggests “laughing for joy, laughing
sardonically, laughing maniacally, crying, screaming, sighing, startled sounds, etc.”
Oliveros instructs the Moon Figures to use a specific procedure for evoking and realizing
the sounds she requires. For the names of the moon, she directs that they “intone” rather than
simply speak the word, inferring a sort of chanting or emphasis on the pitches of the syllables.
She further elucidates by saying “The intonation may be repeated on the same pitch, or pitches,
as in a mantra, or sounded only once.” For the non-verbal emotional sounds, Oliveros asks that
the Moon Figures remember or imagine an emotional experience. She asks that the sound be
brought about by the emotions of the remembrance or imagination, rather than coming from a
contrived intellectual decision.
The Moon Figures may begin their vocal activities with either the non-verbal sounds or
the names of the moon. They are free to choose their own structuring of the two elements
thereafter. They may alternate the two elements, or they may change the contents of the element
by changing directly from one emotional state to another or speaking the name of the moon in a
different language.
Oliveros defines how transitions are to be made between the two elements in the sound
repertoire. She instructs the Moon Figures to take the tone (or tones) of the non-verbal
emotional sound and begin chanting the names of the moon on the same tones (or tone).
Oliveros instructs the Moon Figures to interchange intoning names of the moon and
making non-verbal emotional sounds for the duration of the performance. She adds that the
vocal activities should be “carried on relatively passively during cycles 1, 2, 5 and 6; relatively
actively during cycles 3, 4, 7 and 8.” (p. 2)
The Moon Figures are instructed to take one step to the left at the end of each cycle while
standing back-to-back. This forces the Moon Figures to turn in a circular direction, changing the
direction they are facing in each cycle. As the walls of the tent cause the Moon Figures to be
visually cut off from the outer performance, they must pay close attention to hearing the sound of
the Leader’s whistle and subsequent increase of activity by the instruments of the Processors22 in

22 Temple drums, shell trumpets and cambodian rattle.

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order to catch their cue. Stepping to the left is not choreography, but rather a way for the Moon
Figures to self-conduct and stay in touch with the structure of the piece. It also changes the
audiences’ and other performers’ perception of the loudness of the Moon Figures as they
gradually turn their faces to different points in the room.
The Moon Figures continue until the Procession stops at the end of the 8th Cycle. Once
again, their cue for ending is not a score or conductor, but rather the cessation of all sound from
the other performers which is based on completion of the specified movements by the
Procession.
While the Moon Figures have few direct sound cues from other players, it is inevitable
that the stream-of-consciousness accessing of their emotions will be influenced by the sound
activities around them. As they are isolated inside a cloth tent, they cannot see the movement
surrounding them, and thus are more completely focused on the sounds they hear from outside
the tent. At the same time, the visual separation also allows them more privacy for accessing
their personal and intimate emotions. Sonically, the tent also functions to slightly muffle the
sounds of the duo, keeping their sounds (which, in the Wesleyan performance, sometimes
include screaming and crying) from becoming too dominant in the instrumentation.
The nakedness of the Moon Figures is not meant to serve a theatrical purpose, as they are
covered with cloth for their entrances and exits from the tent, and are hidden from public view in
the privacy of the tent during the performance. The nudity is intended to bring the Moon Figures
into a state where they are more receptive to their emotions, literally laying them bare. The fact
that they stand back to back while disrobed gives each of the pair an increased sensitivity to the
vocal activities of their partner. Because they cannot see their partner, this allows greater focus
on listening to the sounds their partner makes and feeling the rhythm of their partner’s breathing.
In the Wesleyan premiere, there was one male and one female Moon Figure (the sex of
the Moon Figures is not specified in the score). The male Moon Figure begins first, a few
seconds after the start of the First Cycle (CD 1, Track 5, :03), by slowly intoning the word
“Luna” on one note. The female Moon Figure begins eighteen seconds later (CD 1, Track 5, :

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21), intoning the name of the moon in another language23 on a long tone on one note. They
continue intoning names of the moon on various pitches in this manner throughout the First
Cycle, often taking long pauses. Sometimes their singing overlaps and other times they sing
alone. The male singer chooses to stay with the same tone for a long time before moving on to
another. The female singer chooses to sing a variety of tones in different ranges. The male
singer is softer in dynamics than the female singer, perhaps because he is facing away from the
recording microphone/audience.

2. The Cloth People

The four groups of Cloth People (with three people in each group) that surround the
Moon Figures have clear instructions concerning their vocal improvisations. They may begin
anytime during the First Cycle (no specific start point is suggested). Oliveros asks each Cloth
Person to try to sing a pitch that is different from what is heard from the Moon Figures, other
Cloth People and Processors24 . This results in clusters of tones (which Oliveros refers to as
“chords” in the text score). Each group of cloth people is instructed to try to imitate vowel
sounds (but not pitch) which the Moon Figures are sounding. The length, dynamics and
structure of the sounds are freely chosen by each individual Cloth Person. Paralleling the Moon
Figures, Oliveros makes the vague instruction that the Cloth People make the “1st, 2nd, 5th and
6th cycles relatively passive; the 3rd, 4th, 7th and 8th cycles relatively active.”
The Cloth People are also instructed that each group should “breathe together (each
group independently of the others).” This affects entries and cut-offs by individual groups of
Cloth People, keeping them somewhat in sync with one another. The breaths may range from
very long to very short.
The score includes detailed choreography by Sylvia D’Arcangelo for the Cloth People
that no doubt influences their vocalizing. Decisions concerning movement inevitably affect their
decisions as to when to vocalize. It may be difficult to vocalize when they are moving

23 The language is not known to the author, but the fact that she is intoning on a single word implies that it
is the name of the moon, and not an emotional sound.
24 The Leader of the Procession does not vocalize. Only the Processors vocalize.
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strenuously. The amount of breath available for singing is obviously greater when they are still.
Movements may affect whether they ultimately sing long or short tones. Also the choreography
may turn their faces away from the audience or toward the audience, causing increase and
decrease in dynamics. The cloth in which they sometimes wrap themselves may muffle their
singing, changing the timbre and dynamics. Oliveros uses D’Arcangelo’s choreography as a
method to limit the amount of singing, length of notes and dynamics of the Cloth People.
In the Wesleyan performance, some of the Cloth People begin singing approximately 6
minutes after the beginning of the First Cycle, following a short passage of intoning by the male
Moon Figure (it is impossible to know which Cloth People are singing from only the recording)
(CD 1, Track 5, 5:50). They softly sing a cluster of long tones, slightly higher than the tones of
the Moon Figure (this realizes the instruction that they should sing a different pitch than the
Moon Figure). The male Moon Figure continues to softly intone names of the moon throughout
the duration of the cluster, and past the end of the cluster. The entry and ending of this cluster is
ragged, giving a gradual increase and decrease in sonic density. This characteristic of ragged
entries and endings of clusters by the Cloth People, which happens consistently throughout the
entire piece, demonstrates both the group and individual dynamic occurring. Apparently, when
one individual decides to sing, then others gradually join in. Inversely, when one individual
decides to stop singing, then others gradually decide to also end. Oliveros makes no specific
instructions concerning the starts and ends of the clusters, however the fact that she has
instructed the groups to breathe together probably results in this loose synchronization.
In the Wesleyan performance, sometimes only one or two Cloth People sing, and other
times numerous Cloth People sing. When only one or two Cloth People are singing, it is often
difficult to discern on the recording whether the sound is coming from one of the Moon Figures
or from a Cloth Person.
On the recording, there are long silences between large clusters by the Cloth People in the
First Cycle (CD 1, Track 5). After the cluster at 6:00, there are clusters (or groups of clusters) at
9:25 (appx. length: 1 min., 15 sec.), 10:45 (appx. length: 1 min.), 13:20 (appx. length: 10

!21
seconds), 15:10 (appx. length: 10 sec.), and 18:40 (appx. length: 1 minute, continuing through
the Leader’s whistle at 19:08 and into the start of the Second Cycle).
The second cluster of the First Cycle at 9:25 is particularly outstanding because of its
long duration and gradual changes between voices (again demonstrating individual choices
within the group dynamic). It follows a sparse area by the Moon Figures just after the Moon
Rattle has been handed off. Again the Cloth People come in against soft intoning by the male
Moon Figure. It seems that all Cloth People singers are female against the male Moon Figure at
this point and they subsequently intone in a higher range. At 9:36 the female Moon Figure
begins intoning on a high pitch, and a few seconds later the group of women Cloth People begin
to intone a cluster higher than their previous cluster. More singers (including males) enter at
9:47, increasing the density and range of the cluster, and illustrating the interchange between the
different groups of Cloth People. The cluster thins a few second later, but then builds again at
10:25 when the Moon Rattle is again exchanged. At 10:40 the female Moon Figure intones, and
again the female Cloth Figures respond with a high cluster. The texture again thins, and then a
high female voice intones loudly at 11:05. From this point on, the intonations by the Cloth
People continue to thin and become softer, finally stopping at around 11:45.
It is particularly important to note that, in the First Cycle in the Wesleyan performance,
the singing by the Cloth People always follows vocalizing by one or both of the Moon Figures.
As the Cloth People are supposed to contrast the tones from other singers, it is necessary for
them to have the material provided by the Moon Figures in order to begin their long tones (the
shouts from the Cuer with the Rattle were apparently not tone-specific enough for them to draw
from). Also, they are instructed to imitate vowel sounds of the Moon Figures, again forcing
them to be dependent upon the Moon Figures for their source material.
Compared to the other Cycles in the Wesleyan premiere recording, the vocalizing in the
First Cycle is rather sparse. The Processors and Cuers have not begun their vocalizing at this
point. There are numerous gaps where no vocalizing occurs, ranging from a few seconds long to
over 1 minute, 30 seconds in length. This sparseness allows easier critical observation of the
interactions between the Moon Figures and Cloth People.

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3. The Processors
As has been previously stated, the Procession consists of the Leader and those who
follow her, known as the “Processors.” The Leader does not vocalize. The Processors have
specific directions concerning their vocal activities (in addition to their instrumental activities).
The words they chant may be in any language, however Oliveros says “in a selected language,”
implying that they should stick with only one language in their selection. Their chanting begins
“after the First Cycle.” Thereafter, they are instructed to chant the following names in the
following cycles:
Second Cycle - names of the moon and the earth,
Third and Fourth Cycles - names of the moon and air,
Fifth and Sixth Cycles - names of the moon and fire ,
Seventh and Eighth Cycles - names of the moon and water.
They are asked to “tune the chant to a predominating pitch.” This material could be
coming from the Moon Figures, the Cloth People, the Cuers, the other Processors or any
combination thereof. As with Oliveros’ implication that they should stick with only two words in
each cycle, likewise they are instructed that “the pitch should remain the same during a cycle.”
They may choose a new pitch during a new cycle, but again this pitch has to remain the same for
the duration of the cycle.
Oliveros says that the chant “need not be continuous,” thus leaving it open for the
Processors to choose between continuous chanting or intermittent chanting. For the majority of
the Wesleyan performance, most of the Processors chose to chant continuously, creating an
ostinato of chanting throughout most the piece. Cessation of the chanting in the over two-hour
Wesleyan performance can be almost jarring, as one becomes accustomed to the sound after
awhile.
The vocalizing of the Processors is not intricately connected to the Rhythmic Matrix
(though it is of course very connected to the cyclical structure). In the Wesleyan performance,
the primary result of Processors’ movement on their vocalizing is a continual directional panning

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of the chanting as they walk round and round. Additionally, depending upon which way the
Processors are facing at a given moment, there will be slight increases and decreases in volume.

4. “Name Calling” and “Tuning Long Tones” by the Cuers

The Cuers are instructed to “call the names of people you remember” in a “varied calling
style” in the 3rd, 4th, 5th and 6th Cycles. The Cycles connect this activity to the larger cyclical
structure, which is generated through movement. This “name calling” functions in both the
controlled Rhythmic Matrix and improvised Vocal Matrix simultaneously.
The Cuers are asked to choose from one to three persons in the Procession to trigger their
call as they pass. The are also asked to change the number of persons and choose different
persons for each cycle. This connects their activities to the Rhythmic Matrix, with their calls
controlled by the movements of the Procession (and the passing of the Moon Rattle). However,
the Cuers do have some choice as to how many times they call and how they make the variations
between cycles. Also they may choose not to call at all when their chosen member of the
Procession passes.
Oliveros allows the Cuers to call out the names at any dynamic level they choose. This
combines factors of both placement and chosen dynamic level to yield the resulting perceived
dynamic by the audience. As with the Rhythmic Matrix, the Cuers’ calls are panned around the
circle according to their placement.
The Cuers are asked to “tune all, or part of the call to a pitch which is predominating in
the mandala.” This connects them to the Vocal Matrix through reinforcement of the predominant
pitch.
The Cuers may also “tune long tones to others occasionally.” This again connects them
to the other vocalizers, and has the ability to directly influence the Processors, Cloth People or
other Cuers by affecting the predominating pitch in the mandala. It also forces the Cloth People
away from whatever pitch is sung by a Cuer.

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III. Why a Sound Recording Cannot Accurately Document All Interactions Generated in
the Matrices: Examples from the Third Cycle25
A sound recording cannot completely document the Rhythmic and Vocal Matrices, and
thus does not expose the total influence of Oliveros’ instructions. Videotape or observation of
the live performance would give most of the information needed for the Rhythmic Matrix, but
would not reveal the complete nature of the interactions in the Vocal Matrix. Extensive
interviews with participants as to the reasons for their decisions would reveal a portion of the
interactive nature of the Vocal Matrix. But, because of subconscious influences and the fact that
performers will not remember the reasons for all their decisions, one cannot accurately deduce
the complete network of interactions in the Vocal Matrix with any sort of documentation.
Throughout the piece, the Cuers strike their instrument or make a shout every time the
Runner passes them. This allows one to estimate the speed and placement of the Runner
throughout the work (as we have already been told the placement of the Cuers in the text score).
This can be deduced through a sound recording. (On Chart 6, lines 12-19, one can observe the
Cuers’ soundings as the runner passes them in the beginning of the 3rd Cycle.) Videotape or live
observation are not absolutely necessary. However, the organizational foundation of the piece --
the cyclical structure -- is based upon the speed and placement of the Procession. A sound
recording of the piece cannot accurately explain the complete Rhythmic Matrix, because one
cannot locate exact placement or movement of the Procession.

25 In the performance by the Wesleyan Singers, the Cuers made a large error in their “name calling,” by starting it
near the beginning of the Second Cycle and continuing this activity through the end of the Seventh Cycle, when they
were clearly instructed to do “name calling” only in the 3rd through 6th Cycles. Oliveros does allow this activity at
the end of a cycle, but the Cuers at Wesleyan incorrectly continue the “name calling” throughout the Second and
Seventh Cycles. Also, some of the Processors begin chanting in the First Cycle, despite an instruction by Oliveros
to begin in the Second Cycle. The errors in the Wesleyan Singers’ performance no doubt influenced the quality of
the improvisational interactions in those cycles. Because of these errors in the First and Second Cycles, I will focus
the following analysis of the realization of the Third Cycle, the first chronological point at which all vocalists are
performing as instructed. (Observation of the vocal timbres and styles of the Cuers and Processors throughout the
piece, as well as noting the fact that they are instructed to engage in these very same activities at other points in the
piece, makes evident that these groups are indeed the ones who are singing in error.)

!25
 The Tibetan Cymbals and Shell Trumpets (of the Procession) sound continuously through
the last revolution and transitional sections, so there is no direct relationship between them and
the Cuers at that point, thus we cannot deduce their placement or speed. We can sometimes
deduce the placement of the Leader when the tradeoff to or from a Cuer is audible, and certainly
we can tell when a Cuer has begun to shout, indicating that the Leader does not have possession
of the Moon Rattle. But a sound recording cannot indicate the exact placement of the Leader as
she walks around the circle.
The Temple Drums and the Cambodian Rattle do have specific instructions to sound
when they pass certain Cuers. However, as we do not know the amount of space between these
Processors or the exact speed they are going, we cannot deduce the exact placement of these
Processors through a recording. Often we cannot even deduce which Cuer from whom they are
drawing the cue. This is further complicated by the fact that the Cambodian Rattle is very soft,
and not always discernible on the recording. However, on the recording, one Temple Drum is
high and the other is low. This gives some better indication of what is happening with the
Processors.
Oliveros instructs the Processors to “Try to maintain the distance from the person in front
of you.” In the mandala diagram she places the Processors at the same distances apart as the
Cuers, and with a distance of two Cuers between the last Processor (which on the recording is the
high Temple Drum) and the Leader (see Chart 1). By observing the behavior of the high and low
Temple Drums and the Cambodian Rattle on the sound recording, we can deduce whether they
are spaced as instructed.
In the Wesleyan performance, in the Third Cycle during the Southwest Revolution, after
the Moon Rattle has been handed off to the Southwest Cuer, we hear these Processors in the
following order (CD 1, Track 7) (see Chart 7):

4:05 - Low Temple Drum

4:15 - Low Temple Drum
4:23 - Cambodian Rattle

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4:42 - High Temple Drum
4:52 - High Temple Drum

These Processors should be sounding at both the Southwest Cuer and the North Cuer during this
section (use “Chart 8: Processor Wheel” to see how this works). The fact that the low Temple
Drum is the first and second to sound after the Moon Rattle is traded off implies that the high
Temple Drum and Cambodian Rattle are already past the North Cuer. This means that the
Processors are not equally spaced around the circle as is shown in Oliveros’ mandala layout
(Chart 1). They seem to be grouped in a line that takes up a little over half of the total circle.
The Cambodian Rattle apparently sounds when it passes the Southwest Cuer, but we do
not hear it at the North Cuer. Or are we hearing it at the North Cuer and not the Southwest?
There is no way to know. Regardless, we should have heard the Cambodian Rattle twice, not
only once. This is attributable to either low volume of the Cambodian Rattle or a mistake by that
Processor.
The high Temple Drum sounds twice after the Cambodian Rattle. This makes sense, in
that we can imagine that the high Temple Drum is passing the Southwest Cuer and then the
North Cuer (and indeed it took both the low and high Temple Drums exactly 10 seconds to travel
that distance). But deducing the speed of the high Temple Drum at this point does not give us
any information as to the placement of the other Processors.
The placement and movement of the Processors cues the “name calling” by the Cuers, the
first sound entry of the Moon Figures and movement form changes by the Cloth People. Not
knowing the exact placement of the Processors leaves one unable to deduce many of the choices
made by performers in the piece. Likewise, without seeing them, one cannot deduce which Cuer
called out or which group of Cloth People changed form. This assessment is only possible
through live observation or extensive video documentation.
In the Vocal Layer, the exact realization of the matrix is even more difficult to discern
because one cannot know the mind of the performer. In Chart 6 (CD 1, Track 7) we see that after
a hysterical laugh from the Female Moon Figure (1:59), followed by a large chord from the Cloth

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People (2:14), the Cuers choose to make long yells and screams (2:17). Oliveros writes “The
Cuers also tune long tones to others occasionally.” It is possible that the long yells and screams
from the Cuers are an interpretation of “tuning long tones” to the combination of the hysterical
laugh and the large chord, but one cannot be certain without knowing the exact thoughts of the
individual Cuers.
A more clear example would be a group of female Cloth People choosing to sing a high
cluster directly after hearing long tones intoned by the Female Moon Figure (all at 3:00). The
intoning by the Female Moon Figure may have been affected by the sound of Moon Rattle being
passed (also at 3:00), but one has no way to deduce this subconscious sort of decision.

IV. The Effect of the Lunatics: Disruption of the Matrices

In the Fifth Cycle26 , Oliveros introduces performers that function outside the matrices of
Rose Moon. She calls these performers “Lunatics.” The Lunatics influence and disrupt the
matrices, but Oliveros views the “need for disorder” as something that already exists in the
“feelings” of the participants in the piece (page 2 of score). Indeed, after performing for over an
hour, the participants may need a break from the normal pace of the piece, and the Lunatics
provide this.
Oliveros says that “the Lunatics are free to relate to the situation as their lunacy dictates,
yet they may not touch participants.” She says that the Lunatics “may (my italics) appear... after
the beginning of the Fifth Cycle” and that they “Leave sometime during the Seventh Cycle.”
These vague guidelines allow the Lunatics the option to come and go as they please during the
designated cycles.
In the “Costumes” instructions at the beginning of the text score, Oliveros says “Lunatics
can wear everything, anything, or nothing.” This serves a concrete functional purpose in the
composition. The Lunatics choice of attire may assist them in disrupting the matrices (or
addressing the “need for disorder”). For instance, if they wear running clothes and a sounding

26 Notably, the fifth phase of the moon is the full moon.

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belt, they might be mistaken for a Runner and cause the Cuers to make mistakes. If they blend
into the Procession in green street clothes, they might cause confusion of a cue. If they wear
white pants and tee shirts, they can be mistaken for a Cuer or Cloth Person and perhaps disrupt
other interactive cues. If they wear flashy or funny costumes or appear naked, they will distract
the regular performers in a less subtle manner.
As there is no video of the premiere performance, one cannot deduce the exact entries,
exits, numbers or costuming of the Lunatics. However, ample evidence exists on the sound
recording of specific incidents in the Fifth through Seventh Cycles where the Lunatics attempt to
achieve their purposes.
In the Fifth Cycles (CD 2, Track 2) a woman screams “People! People!” at 6:08. This is
a rather strange interpretation of the instruction to call the names of “remembered people.”
Something seems askew, though it is unclear as to whether this shout is made by an entering
Lunatic or a Cuer distraught by the sudden entry of other “people” into the mandala. At 6:35
there is a sudden eruption of sound. We hear loud whoops and hoots, someone maniacally
laughing, another person shouting “Hey Hey Hey!” and another person talking loudly. The
regular performers seem to respond to this by vocalizing more loudly and densely.
At 7:00 we hear someone shake a maraca while running around the circle (one can sense
the movement through the way the sound moves through the stereo field). The maraca is distinct
from the Moon Rattle and Runner’s belt because of it’s high pitch and louder dynamic. It seems
as if the “maraca-lunatic” is perhaps following the Runner (or at least also running around the
circle). The loudness and density of vocals through this section of the Fifth Cycle buries the
Moon Rattle and Runner’s belt much of the time, making the cutting timbre of the maraca the
most prevalent rhythmic sound. The “maraca-lunatic” sometimes shakes in rhythm with the
Moon Rattle and other times he/she is in sync with the Running belt. Other times she/he lapses
into kitschy rhythmic patterns which (for this listener) disturbs the reverent ostinato that has
underpinned the entire piece. One cannot tell if the “maraca-lunatic” successfully throws off the
rhythm of the Moon Rattle, but it seems that this is the Lunatic’s intent. The maraca definitely
blurs the pulse of Moon Rattle and Runner’s belt for the listener. The maraca occasionally

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pauses, but generally keeps going until 11:30 when he/she stops playing completely (and perhaps
exits).
At 8:08, simultaneous with the maraca, a knocking sound begins that is similar to
someone tapping on a frame drum. The location of the knocking is stationary and seems to be in
the area of the South Cuer (with the frame drum). Like the maraca, the knocking occasionally
breaks into kitschy patterns. The knocking continues intermittently until 10:53. While the
intention of the knocking may be to throw off the percussion strike of the South Cuer, in this case
the Lunatic does not succeed.
At 10:40 we hear a rumbling sound, that seems to be someone drumming their fingers on
the surface of a bass drum. A flurry of hard strikes on the drum (which seems to be the Low
Temple Drum) occur between 11:04 and 11:14. As this is not the end of a cycle or transitional
area, it would not be correct for the Low Temple Drum to sound in this way at this time. Quite
likely one of the Lunatics is striking the drum in order to disrupt the usual Temple Drum patterns
and perhaps confuse the other Temple Drummer and Cambodian Rattle as to the location of the
significant Cuer during this period. (As was previously discussed, it is not possible to deduce
the correct time location of Temple Drums and Cambodian Rattle without a video tape. Thus
one cannot say for sure whether they were successfully disturbed by the Lunatic.)
The vocalizing from 6:35 until 12:30 intermittently becomes frenetic and/or punctuated
with shouts or screams. Other than the large eruptions from 6:35-7:25 and at around 7:45-8:00,
it is impossible to discern whether loud, unusual or intense vocalizing is coming from Lunatics
or from the regular performers reacting to the presence of the Lunatics. One can guess that the
Lunatics were probably loudly mocking the regular performers at various points in order to
disrupt things, but there is no way to prove this without videotape or a firsthand account.
A woman sings a particularly beautiful improvisation from 9:25 to around 10:30. As no
other regular participant has such broad instructional parameters, and the timbre of the voice is
distinctly different from the female Moon Figure soloist, one assumes that this is a Lunatic.
The Lunatics are no longer in sonic evidence after around 12:30. The remainder of the
Fifth Cycle is similar to the preceding cycles in content. However, it is notable that the Fifth and

!30
Sixth Cycles are significantly shorter than all the previous cycles (see CD for cycle lengths).
This is perhaps attributable to a speeding-up by the Processors caused by the excitement
generated by the Lunatics.
In the Sixth Cycle (CD 2, Track 3), the tapestry of interactions continues as usual until
around 2:43, when again we hear a flurry of loud whooping and hysterical laughter. However,
by 3:21, things seem to have settle back to normal, and by 3:45 the texture has become quite
sparse.
At 4:21 there is a very strange occurrence. Every Cuer plays two strikes for one
revolution. After that revolution, the Cuers stop doing this. In reviewing the entire
performance, one finds another occurrence of this same action in the Fourth Cycle (CD 2, Track
1, 16:48), at a time when the Lunatics were not yet present. The Cuers are specifically instructed
on page 4 of the score to “play one beat” when the runner passes. This choice to play two strikes
instead of one marks a clear rebellion on the part of the Wesleyan Cuers against Oliveros’
instructions. This is likely attributable to exhaustion or boredom on the part of the Cuers, and in
the case of the Sixth Cycle occurrence may have been influenced by the free activities of the
Lunatics, but one cannot know this information without interviews.
A burst of activity by the Lunatics follows immediately after the double strikes, perhaps
inspired by the Cuers tiny rebellion. At 4:43 again we hear the rumbling on the Temple Drum, as
though someone is drumming their fingers against it. This is followed by a burst of hooting and
laughing. Also there is a great density of name-calling at this point, perhaps because the
Lunatics are imitating the Cuers. This also would serve to confuse the Cuers and others in their
name calling.
At around 7:00 a male Lunatic begins a sort of old-fashioned “preaching,” speaking
endlessly in a singsong fashion. However, it is never discernible what the speaker is saying.
Variation in the stereo pan makes it apparent that he is moving about. His “preaching” is never
very loud, and does not seem to disrupt the activities of the regular performers. However, the
introduction of an ostinato of regular speech does distinctly change and thicken the sound
tapestry. He continues “preaching” intermittently until 10:00, at which point he seems to exit.

!31
 From 11:54 until 13:40 a female soprano sings a long passage that does not fit within the
instructional limits of the female Moon Figure. This leads one to conclude that the singer may
be a Lunatic. The high aria-like improvisation seems to inspire a woman to scream at 12:14
(perhaps another Lunatic, or it could be a “long tone” interpretation by a Cuer) and this is
followed by a high-ranged cluster of female Cloth People at 12:22, with another female cluster
subsequently following at 13:30.
As the texture thins at 13:45, we hear someone softly playing an instrument that sounds
like a wooden flute. At 14:20 a female Cuer briefly name-calls melodically in counterpoint with
the “flute.” The “flute” continues intermittently playing soft, short phrases as the texture
thickens and thins with regular performers. From 15:30 until 16:00 the texture thins
considerably. Then at 16:04 the whistle signal is given by the Leader, but the “flute” disguises
the sound, which seemingly causes the Processors to miss the 16th revolution cue. The
Processors do not sound when passing each Cuer, and the Shell Trumpet sounds only briefly (as
though realizing he/she has missed his/her cue) at 16:50. At 16:15 the processors stop chanting,
and this does not resume until approximately 17 seconds after the Seventh Cycle is underway,
another indication that the Processors may have become disoriented by the incident.
Also at 16:00 (the point of confusion) one begins to hear a very soft sound that appears to
be an ocarina. The “ocarina-lunatic” and the “flute-lunatic” play continuously through the end
of the Sixth Cycle, into the beginning of the Seventh Cycle.
We do not hear obvious disruption by the Lunatics in the Seventh Cycle. The flute
continues intermittently and the ocarina continues fairly consistently, both playing softly until
3:00, at which point they seem to exit. The ocarina sometimes plays clusters of tones that meld
nicely with the clusters made by the Cloth People and other vocalizing performers. At around
2:30 the ocarina is repeatedly playing two notes a whole-step apart. A singer, perhaps a Cloth
Person or the Female Moon Figure, sings the next whole step up from this. The matrix of
interaction continues further when a male singer begins to imitate her exact pitch in falsetto.
Approximately seven minutes into the Seventh Cycle we hear the male “preacher-lunatic”
again begin to speak softly. He gradually grows louder and more intense. At 8:44 he repeats

!32
words over and over, and then begins to speak in a more singsong fashion. He stops at
approximately 9:13, and then reenters softly by 10:45. The way his voice pans in the stereo
infers that he is walking around the circle as he speaks. At around 12:00 a female Cuer shouts a
name that sounds like “Black Crows.” After this, the “preacher-lunatic” starts repeating
something that sounds like “black crows in my country” until 12:45, punctuating it with an
occasional “ugh” (which may be reflective of the vocal sounds of the Cuer with the rattle). He
continues speaking intermittently until 14:45 when his voice disappears completely. During this
final segment with the “lunatic-preacher,” at 13:19, the Tibetan Cymbal sounds once. As the
Leader has not sounded the whistle yet, one can assume that this strike may have been enacted
by a passing Lunatic, perhaps the “preacher-lunatic.”
After the exit of the “preacher-lunatic” at 14:45, the usual tapestry of performers returns.
Apparently all Lunatics have left the mandala. This would make sense because Oliveros has
asked that the Lunatics make their final exit “during the seventh cycle.” However, we cannot be
sure of this as the recorded documentation ends at 15:26.
The tape ends a few seconds after the Southeast revolution (the 15th revolution) of the
Seventh Cycle, before the Moon Rattle has been transferred to the East Cuer for the final (16th)
revolution of the Seventh Cycle. No audio documentation exists for the final revolution of the
Seventh Cycle or the entire Eighth Cycle. For this reason, for the closing material, we must
return to discussion of the score, and not the realization thereof.

V. The Ending Matrix and Ritual Exit

(SEE DIAGRAM THREE: ENDING MATRIX.) The Rhythmic Matrix gradually ceases
at the end of the Eighth Cycle through a series of cues. Once the Eighth Cycle is completed, the
Leader stops moving and shaking the Moon Rattle. This results in all the Processors no longer
having rhythmic or cyclical cues, and thus silences their percussive sounds. The Cuers are
instructed to gradually stop playing once the Leader has stopped. Once the Cuers have stopped
completely, the Runner is instructed to stop.

!33
 The instructions for the ending for the Vocal Matrix are much more vague. The only cue
for ending the non-percussive vocalizing (that is, all vocalizing except for Processor-cued name-
calling and the rattle-cued shouting by the Cuers) is when “all sounds are completed” at the end
of the Eighth Cycle. As sound can be either percussive or vocal, this does not make clear an
exact ending point. Since there are no exact ending instructions, it is possible that the vocalizers
can choose to extend their improvisations beyond the Runner’s stopping for as long as they like.
Oliveros states that the Ritual Exit should be “as in the beginning,” which implies that it
is done in silence. This is the most clear cue that all sound activity should stop and the piece has
ended. Again specified movement indicates the completion of the piece (rather than visual
symbols normally given by an orchestra, such as lowering of the instruments, resting of the arms
by the conductor, etc.). It is implied that the performers should make the Ritual Exit in the
opposite order of how they entered. It is however clearly stated that the Leader should be the last
one to leave the mandala. It is also clearly stated (on page 1 of the text score) that the Moon
Figures should again cover themselves for the exit from the Moon Tent, once again reinforcing
the premise that their nudity is functional rather than theatrical.

VII. Conclusion: The Structural Significance of the Moon Imagery

Oliveros does not use scientific data concerning the Moon’s activity to create this piece.
The Moon orbits the earth approximately every 29.5 days and this is called a “cycle” of the
moon. This has no relation to Oliveros’ “cycles” which seem to correlate with what are known
as the Moon’s “phases.”27 “Phase” means how much the Moon is illuminated by sunlight at a
particular time. The phases of the moon are New Moon, Waxing Crescent, First Quarter, Waxing
Gibbous, Full Moon, Waning Gibbous, Last Quarter and Waning Crescent. These phases are
spread over the Moon’s approximately 29.5 day orbit of the earth. However, the division of the

27Oliveros’ choice of sixteen “revolutions” has no scientific relation to rotations of the moon or the earth.
The earth rotates roughly 29.5 times during a lunar cycle. The Moon does not rotate. The Metonic cycle,
which is the time it takes for the Moon to appear again at the same location in the heavens, takes 18.6
years. This also has no obvious scientific relation to Oliveros’ choices.
!34
Moon’s appearance into eight distinct phases is not a determination of modern science28 , but
rather grows out of historical and traditional folklore. The Moon’s phases are a subjective
human determination.
Ancient humans throughout the world observed the changes in the moon and the
correlation of the moon’s cycles with the seasons, and from this they created the lunar calendar.29
Subsequently, humans based many of their activities and beliefs on this calendar, giving the
Moon tremendous power in their daily lives. Humans have created the myths that the Moon
influences romance, fertility and insanity. However, the actual effect of the Moon on the daily
lives of humans is quite unimpressive. While the Moon does control the tides, and this may have
subsequent effects on fish and other sea life, there is little evidence that the Moon does much
else.
It is the beliefs of human beings that give the Moon its greatest power. The Moon
controls human beings, not by physical force (as does the sun, with light and heat) but through
human desire to explain our existence and mark the passing of time. Our interpretations of the
moon are the expression of our collective consciousness. This is the key to understanding the
structural significance of the Moon imagery in this composition. Oliveros’ “revolutions” and
“cycles” function like a calendar, and her instructions for improvisational interactions function
like our own choices to follow (or not follow) societal traditions. In this way, Oliveros’ matrices
of control reflect the effect of the Moon on mankind.

Endnotes

Missing Material in the Recording of the Premiere:

By referring to the instruments of the individual Cuers (see page 7) and thus the identity
of the vocalizing Cuer, as well as the overall structural layout (see Chart 2, “Who Has the
Rattle”), one may follow the progress of the cycles and revolutions on the recording. This
provides the primary method for deducing what material is missing from the recording.

28The mathematical percentage of the Moon’s surface illuminated is a more refined, quantitative
description of the Moon’s appearance than is the phase.
29This discovery occurred in numerous unrelated ancient cultures at different times, from the Greeks to
the Pueblo Indians.
!35
 The first missing material occurs near the end of the Third Cycle. Near the end of the
first reel-to-reel tape (CD 1, Track 7, 18:59) we hear the Leader whistle to cue the end of the 3rd
Cycle. At that point, according to the score, she should have handed off the Moon Rattle to the
West Cuer, and indeed, on the recording we hear the West Cuer shout, which indicates that he has
the Moon Rattle. Three shouts from the West Cuer follow the handoff shout (continuing CD 1,
Track 8). Additionally, as this is the end of the 3rd Cycle, the Shell Trumpets and Tibetan
Cymbals are sounding. At the very beginning of the second reel-to-reel tape (CD 2, Track 1),
we still hear the West Cuer shouting. We also hear the Shell Trumpets and Tibetan Cymbals
sounding (indicating they are still in the 16th revolution at the end of the 3rd Cycle, before the
actual beginning of the 4th Cycle). The West Cuer shouting plus Processional instruments
sounding equals the end of the 3rd Cycle (16th revolution).
The West Cuer gives 3 more shouts at the beginning of Reel 2 (indicating 3 more Cuer
revolutions). In my research, the average number of shouts is 5 to 6. Seven shouts is a bit
many, but not completely out of the ordinary. (Particularly if the Leader, Oliveros, saw the tape
was being changed and slowed down to compensate!)

Other factors provide further evidence that this is a continuation of the Third Cycle. The
chanters on Reel 2 are chanting the exact same notes as they were at the end of Reel 1 (CD 1,
tracks 7 and 8). We are hearing the same chanters’ voices, not different ones. The next cycle on
Reel 2 (CD2, Track 1) starts and ends with the Southwest Cuer, indicating that it is indeed the
Fourth Cycle.
All this information indicates that the reel-to-reel tapes were changed quite quickly.
Having been in live radio in the late 70's where I worked frequently with reel-to-reel tape
recorders in time-pressured situations, I can attest that it is entirely possible to remove a
completed reel, move the take-up reel over and mount a new reel in about 15 seconds. (Of
course, one doesn’t bother rewinding the first one at that moment.)
Again, by following the instrumental identities of the Cuers and the form of the piece,
one can deduce that the tape ends a few seconds after the Southeast revolution (the 15th
revolution) of the Seventh Cycle, before the Moon Rattle has been transferred to the East Cuer
for the final (16th) revolution of the Seventh Cycle. No audio documentation exists for the final
revolution of the Seventh Cycle or the entire Eighth Cycle. As cycle lengths averaged from 15 to
20 minutes throughout the work, one may assume that the final missing material would have
lasted approximately 20 minutes.

!36
For Chart 1 see cover of Rose Moon score

https:// www.perfectwave.org/interviews-pauline-oliveros-by-will-cameron/
 CHART TWO

CYCLE/REVOLUTION CHART

“WHO HAS THE MOON RATTLE?”

A B C D E F G H I J K
1 A Cycle is equal to 16 revolutions preceded by one 7/8 transitional revolution.
2 Each line below is equal to 16 and 7/8 revolutions.
3 Leader = Leader of the Procession
Percentage of
circle travelled
by Procession
until Moon
4 Rattle trade: 7/8 Complete 7/8 Complete 7/8 Complete 7/8 Complete 7/8 Complete
Who has the Leader Cuer Leader Cuer Leader Cuer Leader Cuer Leader Cuer
5 rattle:
6 First Cycle Leader NORTH Leader NORTHWEST Leader WEST Leader SOUTHWEST Leader SOUTH
7 Second Cycle Leader NORTHWEST Leader WEST Leader SOUTHWEST Leader SOUTH Leader SOUTHEAST
8 Third Cycle Leader WEST Leader SOUTHWEST Leader SOUTH Leader SOUTHEAST Leader EAST
9 Fourth Cycle Leader SOUTHWEST Leader SOUTH Leader SOUTHEAST Leader EAST Leader NORTHEAST
1 0 Fifth Cycle Leader SOUTH Leader SOUTHEAST Leader EAST Leader NORTHEAST Leader NORTH
1 1 Sixth Cycle Leader SOUTHEAST Leader EAST Leader NORTHEAST Leader NORTH Leader NORTHWEST
1 2 Seventh Cycle Leader EAST Leader NORTHEAST Leader NORTH Leader NORTHWEST Leader WEST
1 3 Eighth Cycle Leader NORTHEAST Leader NORTH Leader NORTHWEST Leader WEST Leader SOUTHWEST
Revolution Intro/Trans 1st 7/8th 2nd 1/8th 2nd + 1/8th 3rd + 2/8th 4th + 2/8th 5th + 3/8th 6th + 3/8th 7th + 4/8th 8th +
number: 7/8th 3rd 6/8th 4th 6/8th 5th 5/8th 6th 5/8th 7th 4/8th 8th 4/8th 9th

14
15
16
17
 CHART TWO

CYCLE/REVOLUTION CHART

“WHO HAS THE MOON RATTLE?”

L M N O P Q R S
1
2
3
Complete (which
makes up for the
eight "1/8th
revolutions" that
4 7/8 Complete 7/8 Complete 7/8 Complete 7/8 have been missed.)
Leader Cuer Leader Cuer Leader Cuer Leader Cuer
5
6 Leader SOUTHEAST Leader EAST Leader NORTHEAST Leader NORTH
7 Leader EAST Leader NORTHEAST Leader NORTH Leader NORTHWEST
8 Leader NORTHEAST Leader NORTH Leader NORTHWEST Leader WEST
9 Leader NORTH Leader NORTHWEST Leader WEST Leader SOUTHWEST
1 0 Leader NORTHWEST Leader WEST Leader SOUTHWEST Leader SOUTH
1 1 Leader WEST Leader SOUTHWEST Leader SOUTH Leader SOUTHEAST
1 2 Leader SOUTHWEST Leader SOUTH Leader SOUTHEAST Leader EAST
1 3 Leader SOUTH Leader SOUTHEAST Leader EAST Leader NORTHEAST
4/8th 9th + 5/8th 10th + 5/8th 11th + 6/8th 12th + 6/8th 13th + 7/8th 14th + 7/8th 15th 16th (Leader sounds
3/8th 10th 3/8th 11th 2/8th 12th 2/8th 13th 1/8th 14th 1/8th 15th whistle)

14
15
16
17
 CHART THREE

EXAMPLE OF CUERS’ PERCUSSION SOUNDS

IN CYCLES ONE AND THREE

A B C D E F G H I J
1 First Cycle - Northwest Revolution All sounds instrumental except Northwest Cuer.
2 NORTHWEST WEST SOUTHWEST SOUTH SOUTHEAST EAST NORTHEAST NORTH Total Time
Sounds Vocal Shout Thick Wood Slapper Frame Drum Plastic Box High-pitched Pitched Non-pitched
Sticks Woodblock Woodblock (m3 Woodblock
3 below NE)
4 Times (Track 5) 2:05 2:07 2:09 2:10 2:13 2:15 2:16 2:18 13 sec.
5 2:19 2:21 2:23 2:25 2:27 2:29 2:31 2:32 13 sec.
6 2:34 2:36 2:38 2:39 2:41 2:43 2:45 2:47 13 sec.
7 2:48 2:51 2:52 2:54 2:55 2:58 2:59 3:01
8 3:03 3:04 3:07 3:08 3:10 3:12 3:14 3:16
9 (Rattle switches to NW cuer at 2:00) (Rattle switches back to leader at 3:14)
10
1 1 Third Cycle - West Revolution. All sounds instrumental except West Cuer.
12 WEST SOUTHWEST SOUTH SOUTHEAST EAST NORTHEAST NORTH NORTHWEST
Vocal Shout Slapper Frame Drum Plastic Box High-pitched Pitched Non-pitched Pitched
Woodblock Woodblock (m3 Woodblock Woodblock
1 3 Sounds below NE)
1 4 Times (Track 7) 1:50 1:52 1:53 1:54 1:56 1:58 1:59 2:01 11 sec.
15 2:02 2:04 2:05 2:07 2:09 2:10 2:12 2:14 12 sec.
16
 CHART FOUR

CUER PERCUSSIVE-VOCAL TIMINGS

A B C D E F G H I
1 First Cycle - Number of Cuer Vocal Sounds
2 CD 1, Tracks 4 and 5
3 track timings # of shouts Total Time
4 NORTH 1:45 1:59 0:06 0:21 0:35 0:50 6 times 1 min. 7 sec.
5 NORTHWEST 2:07 2:20 2:34 2:48 3:03 5 times 56 sec.
6 WEST 4:46 5:01 5:15 5:30 4 times 44 sec.
7 SOUTHWEST 7:01 7:16 7:26 7:44 7:58 5 times 57 sec.
8 SOUTH 9:25 9:35 9:57 10:11 10:26 5 times 1 min. 1 sec.
9 SOUTHEAST 11:43 11:57 12:13 12:27 12:42 5 times 59 sec.
1 0 EAST 14:13 14:28 14:43 14:58 15:14 5 times 1 min. 1 sec.
1 1 NORTHEAST 16:46 16:58 masked 17:26 17:42 5 times 56 sec.
12
13
1 4 Third Cycle - Number of Cuer Vocal Sounds*
15 CD 1, Track 7
16 track timings # of shouts Total Time
1 7 WEST 1:50 2:02 2:16 masked 2:42 2:55 6 times 1 min. 5 sec.
1 8 SOUTHWEST 4:04 4:17 4:31 4:44 4:58 5 times 54 sec.
1 9 SOUTH 6:04 6:17 6:30 6:44 6:57 7:10 6 times 1 min. 6 sec.
2 0 SOUTHEAST 8:18 8:31 8:44 8:58 9:12 5 times 54 sec.
2 1 EAST 10:22 10:35 10:49 11:03 11:16 11:30 6 times 1 min. 8 sec.
2 2 NORTHEAST 12:40 12:52 13:05 13:18 13:32 5 times 52 sec.
2 3 NORTH too masked to make timeline
2 4 NORTHWEST 16:58 17:10 17:25 17:37 17:50 5 times 52 sec.
25
26
27 * There is no logical explanation as to the 10-15 second alternation between vocal sound
28 lengths in the Third Cycle, other than variations in Procession speed which we cannot observe
29 via audiotape alone.
 CHART FIVE

TEMPLE DRUM AND CAMBODIAN RATTLE IN THE FIRST CYCLE

A B C D E F G H I J K L M N O P Q R S T U
1 CD 1, Track 5
Rattle switched to NW
Cuer at
2 Leader 2:00
3
4 NW Cuer Vocal "Ugh!" 2:05 2:19
5 WEST Woodblk. 2:07 2:21
6 SW Cuer Slapper 2:09 2:23
7 S Cuer Frame Drum 2:10 2:25
8 SE Cuer Plastic Box 2:13 2:27
9 E Cuer Woodblk. 2:15 2:29
1 0 NE Cuer Woodblk. 2:16 2:31
1 1 N Cuer Woodblk. 2:18 2:32
12
1 3 Proc. Temple Drum 1 (low) 2:11 2:22
1 4 Proc. Cambodian Rattle 2:31
1 5 Proc. Temple Drum 2 (high)
 CHART FIVE

TEMPLE DRUM AND CAMBODIAN RATTLE IN THE FIRST CYCLE

V W X Y Z AA AB AC AD AE AF AG AH AI A J AK AL AM AN AO AP AQ AR AS
1

2 Rattle returned to Leader at 3:14

3
4 2:34 2:48 3:03
5 2:36 2:51 3:04
6 2:38 2:52 3:07
7 2:39 2:54 3:08
8 2:41 2:55 3:10
9 2:43 2:58 3:12
10 2:45 2:59 3:14
11 2:47 3:01
12
13
14 2:41
15 2:50 2:58
 CHART FIVE

TEMPLE DRUM AND CAMBODIAN RATTLE IN THE FIRST CYCLE

AT
1

2
3
4
5
6
7
8
9
10
11 3:16
12
13
14
15
 CHART SIX - 3RD CYCLE, WEST REVOLUTION
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z A A AB AC AD AE AF AG AH A I A J AK AL A M
1 THIRD CYCLE CHART
2 Revolution: WEST (1st)
3 Minute on CD 1 minute 2 minute
4 Seconds on CD :50 :51 :52 :53 :54 :55 :56 :57 :58 :59 :00 :01 :02 :03 :04 :05 :06 :07 :08 :09 :10 :11 :12 :13 :14 :15 :16 :17 :18 :19 :20 :21 :22 :23 :24 :25 :26
5
6 PERCUSSIVE LAYER (including Rattle Shouts by Cuers)
7
8 Runner Sound Belt continuous - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
9 Leader Rattle
10 Cuer Rattle - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
11
1 2 N Cuer Woodblk. X X not audible
1 3 NW Cuer Woodblk. X X
1 4 W Cuer Woodblk. VS VS VS
1 5 SW Cuer Slapper X X X
16 S Cuer Frame Drum X X X
1 7 SE Cuer Plastic Box X X X
1 8 E Cuer Woodblk. X X X
1 9 NE Cuer Woodblk. X X not audible
20
21 Proc. Temple Drum Lo X
22 Proc. Cambodian Ratt. X
23 Proc. Temple Drum Hi

24 Proc. Shell Trumpet 1

2 5 Proc. Shell Trumpet 2
26 Proc. Tibetan Cymbals
27
2 8 VOCAL LAYER 1 min 2 min
29 Seconds on CD :50 :51 :52 :53 :54 :55 :56 :57 :58 :59 :00 :01 :02 :03 :04 :05 :06 :07 :08 :09 :10 :11 :12 :13 :14 :15 :16 :17 :18 :19 :20 :21 :22 :23 :24 :25 :26
30 Cuers Name Calling male "Stuart Stuart Stuart" male "Elaine"
31 female
32 Cuers Long Pred. Cuers shout long yells and screams--------------
33 Tones
3 4 Moon Fig. Male
3 5 Moon Fig. Female laughs hysterically------------------------------
36
3 7 Cloth P. All Groups Chord - multiple groups----------------------------------
38 Chord becomes very thick and loud. Now begins
39
40 Proc. Chanting continuous intoning - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
41

1
 CHART SIX - 3RD CYCLE, WEST REVOLUTION
A B AN AO A P AQ A R A S A T A U AV AW A X A Y A Z B A B B B C BD BE B F B G BH B I B J B K BL B M BN BO B P BQ B R B S B T B U BV BW B X
1 THIRD CYCLE CHART
2 Revolution:
3 Minute on CD 3 minute
4 Seconds on CD :27 :28 :29 :30 :31 :32 :33 :34 :35 :36 :37 :38 :39 :40 :41 :42 :43 :44 :45 :46 :47 :48 :49 :50 :51 :52 :53 :54 :55 :56 :57 :58 :59 :00 :01 :02 :03
5
6 PERCUSSIVE LAYER (including Rattle
7
8 Runner Sound Belt - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
9 Leader Rattle - - - -
10 Cuer Rattle - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Rattle changes hands
11
1 2 N Cuer Woodblk. X X
1 3 NW Cuer Woodblk. X X X
1 4 W Cuer Woodblk. not audible VS VS
1 5 SW Cuer Slapper X X X
16 S Cuer Frame Drum X X X
1 7 SE Cuer Plastic Box X X X
1 8 E Cuer Woodblk. X X X
1 9 NE Cuer Woodblk. X X X
20
21 Proc. Temple Drum Lo X
22 Proc. Cambodian Ratt.

23 Proc. Temple Drum Hi X

24 Proc. Shell Trumpet 1
2 5 Proc. Shell Trumpet 2
26 Proc. Tibetan Cymbals
27
2 8 VOCAL LAYER 3 min
29 Seconds on CD :27 :28 :29 :30 :31 :32 :33 :34 :35 :36 :37 :38 :39 :40 :41 :42 :43 :44 :45 :46 :47 :48 :49 :50 :51 :52 :53 :54 :55 :56 :57 :58 :59 :00 :01 :02 :03
30 Cuers Name Calling
31 female
32 Cuers Long Pred. screams---------------------------------------------------
33 Tones
3 4 Moon Fig. Male screams------
3 5 Moon Fig. Female Intoning long tones and then mak
36
3 7 Cloth P.g r o u p sAll
- - - - -Groups
-----------------------------------------------------------------------------------------------------------------------------------------------------------------------
38 begins to thin. High cluster of
39
40 Proc. Chanting - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
41

2
 CHART SIX - 3RD CYCLE, WEST REVOLUTION
A B B Y B Z C A C B C C C D C E C F C G C H C I C J C K C L C M CN CO C P CQ C R C S C T C U CV CW C X C Y C Z D A D B D C DD DE DF DG DH D I
1 THIRD CYCLE CHART
2 Revolution:
3 Minute on CD
4 Seconds on CD :04 :05 :06 :07 :08 :09 :10 :11 :12 :13 :14 :15 :16 :17 :18 :19 :20 :21 :22 :23 :24 :25 :26 :27 :28 :29 :30 :31 :32 :33 :34 :35 :36 :37 :38 :39 :40
5
6 PERCUSSIVE LAYER (including Rattle
7
8 Runner Sound Belt - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
9 Leader Rattle - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
10 Cuer Rattle changes hands
11
1 2 N Cuer Woodblk. X X X
1 3 NW Cuer Woodblk. X X X
1 4 W Cuer Woodblk. X X X
1 5 SW Cuer Slapper X X X
16 S Cuer Frame Drum X X X
1 7 SE Cuer Plastic Box X X X
1 8 E Cuer Woodblk. X X
1 9 NE Cuer Woodblk. X X
20
21 Proc. Temple Drum Lo
22 Proc. Cambodian Ratt. ?
23 Proc. Temple Drum Hi

24 Proc. Shell Trumpet 1

2 5 Proc. Shell Trumpet 2
26 Proc. Tibetan Cymbals
27
2 8 VOCAL LAYER
29 Seconds on CD :04 :05 :06 :07 :08 :09 :10 :11 :12 :13 :14 :15 :16 :17 :18 :19 :20 :21 :22 :23 :24 :25 :26 :27 :28 :29 :30 :31 :32 :33 :34 :35 :36 :37 :38 :39 :40
30 Cuers Name Calling
31
32 Cuers Long Pred.
33 Tones
3 4 Moon Fig. Male
3 5 Moon Fig. Fem
Intoning
ale long tones and then makes glissandoes into soft happy sound
36
3 7 Cloth P. All Groups
38 cluster of female voices (gradually builds and then gradually fades)--------------------------------------------------------
39
40 Proc. Chanting - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
41

3
 CHART SIX - 3RD CYCLE, WEST REVOLUTION
A B D J D K D L D M DN DO D P DQ D R D S D T D U DV DW D X D Y D Z E A E B
1 THIRD CYCLE CHART
2 Revolution:
3 Minute on CD
4 Seconds on CD :41 :42 :43 :44 :45 :46 :47 :48 :49 :50 :51 :52 :53 :54 :55
5
6 PERCUSSIVE LAYER (including Rattle
7 Rattle changes hands
8 Runner Sound Belt - - - - - - - - - - - - - - -
9 Leader Rattle - - - - - - - - - - - - - - -
10 Cuer Rattle
11
1 2 N Cuer Woodblk. X
1 3 NW Cuer Woodblk. X
1 4 W Cuer Woodblk. X
1 5 SW Cuer Slapper X
16 S Cuer Frame Drum X
1 7 SE Cuer Plastic Box X
1 8 E Cuer Woodblk. X X
1 9 NE Cuer Woodblk. X
20
21 Proc. Temple Drum Lo
22 Proc. Cambodian Ratt.

23 Proc. Temple Drum Hi X

24 Proc. Shell Trumpet 1
2 5 Proc. Shell Trumpet 2
26 Proc. Tibetan Cymbals
27
2 8 VOCAL LAYER
29 Seconds on CD :41 :42 :43 :44 :45 :46 :47 :48 :49 :50 :51 :52 :53 :54 :55
30 Cuers Name Calling
31
32 Cuers Long Pred.
33 Tones
3 4 Moon Fig. Male
3 5 Moon Fig. Female
36
3 7 Cloth P. All Groups
38
39
40 Proc. Chanting - - - - - - - - - - - - - - -
41

4
 Chart 7 - Southwest Revolution, Processors
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z A A AB AC AD AE AF AG AH A I A J AK AL A M
1 THIRD CYCLE
2 Revolution: SOUTHWEST (2nd)
3 Minute on CD 3 minute 4 minute
4 Seconds on CD :56 :57 :58 :59 :00 :01 :02 :03 :04 :05 :06 :07 :08 :09 :10 :11 :12 :13 :14 :15 :16 :17 :18 :19 :20 :21 :22 :23 :24 :25 :26 :27 :28 :29 :30 :31 :32
5 (rattle changed hands at 3:55)
6 PERCUSSIVE LAYER (including Rattle Shouts by Cuers)
7
8 Runner Sound Belt continuous - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
9 Leader Rattle
10 Cuer Rattle - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
11
1 2 N Cuer Woodblk. X X X
1 3 NW Cuer Woodblk. X X X
1 4 W Cuer Woodblk. X X X
1 5 SW Cuer Shout X X X
16 S Cuer Frame Drum X X X
1 7 SE Cuer Plastic Box X X
1 8 E Cuer Woodblk. X X X
1 9 NE Cuer Woodblk. X X X
20
21 Proc. Temple Drum Lo X X
22 Proc. Cambodian Ratt. X
23 Proc. Temple Drum Hi

24 Proc. Shell Trumpet 1

2 5 Proc. Shell Trumpet 2
26 Proc. Tibetan Cymbals

1
 Chart 7 - Southwest Revolution, Processors
A B AN AO A P AQ A R A S A T A U AV AW A X A Y A Z B A B B B C BD BE B F B G BH B I B J B K BL B M BN BO B P BQ B R B S B T
1 THIRD CYCLE
2 Revolution:
3 Minute on CD 5 minute
4 Seconds on CD :33 :34 :35 :36 :37 :38 :39 :40 :41 :42 :43 :44 :45 :46 :47 :48 :49 :50 :51 :52 :53 :54 :55 :56 :57 :58 :59 :00 :01 :02 :03 :04 :05
5
6 PERCUSSIVE LAYER (including Rattle
7
8 Runner Sound Belt - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
9 Leader Rattle - - - - -
10 Cuer Rattle - - - - - - - - - - - - - - - - - - - - - - - - - - - - Rattle changes hands
11
1 2 N Cuer Woodblk. X X X
1 3 NW Cuer Woodblk. X X
1 4 W Cuer Woodblk. X X
1 5 SW Cuer Shout X X
16 S Cuer Frame Drum X X
1 7 SE Cuer Plastic Box X X X
1 8 E Cuer Woodblk. X X X
1 9 NE Cuer Woodblk. X X X
20
21 Proc. Temple Drum Lo
22 Proc. Cambodian Ratt. m a s k e d ?

23 Proc. Temple Drum Hi X X

24 Proc. Shell Trumpet 1
2 5 Proc. Shell Trumpet 2
26 Proc. Tibetan Cymbals

2
 DIAGRAM ONE
THE RHYTHMIC MATRIX

PROCESSION/CYCLES

SHELL
TRUMPETS
LEADER AND
TIBETAN
CYMBALS

TEMPLE DRUMS
AND
RUNNERS* CUERS CAMBODIAN
RATTLE

*The only time the Procession affects the Runner is at the end of the piece.
 DIAGRAM TWO
THE VOCAL MATRIX

PROCESSION/CYCLES

CLOTH
PEOPLE

MOON
FIGURES
PROCESSORS’
CHANTING

CUERS’
NAME-CALLING
AND
LONG TONES
 DIAGRAM THREE
THE ENDING MATRIX

VOCALIZING STOPS
WHEN ALL SOUND HAS
ENDED

LEADER
STOPS CUERS RUNNER RITUAL
8TH CYCLE STOP STOPS EXIT
PLAYING
COMPLETED GRADUALLY WHEN
AND
MOVING ALL CUERS
HAVE
STOPPED

PROCESSORS’
PERCUSSION
STOPS