Various trumpets, handpercussion, vocals and the occasional stringed and wind instrument areused to worship deities through prayer and invocation. Levy used stateof the art recording techniques but aimed to capture events as theyhappened, therefore these recordings have an air of authenticity. Thefact that he did not bring the participants into a studio and attemptto recreate their performances also lends the set a timeless quality. Atrack simply titled "Monks" is described as "monks, clown and publicenjoyment." This two minutes of seemingly random chanting and informalvocalizing simply would not have been heard had Levy not made hisrecordings as an observer. The immediacy of the recordings gives them avisual quality. It is easy to envision layers of dust being releasedfrom ancient cymbals as they are struck together. Although the set islong at 143 minutes, it is conveniently divided into three sections:"Rituals of the Drukpa Order," "Sacred Dances and Rituals of theNyingmapa and Drukpa Orders," and "Temple Rituals and PublicCeremonies." Much of sections one and two are trance-inducing, andperhaps this is entirely the point, as this music is not being createdas entertainment. Levy was granted special access to record these ritesbased on his track record of excellence in field recordings made inother countries. While this music of Buddhism is normally only heard bythe general public on special occasions, Bhutan's folk music isperformed publicly and enjoyed by all. Many examples of this type areheard in section three, which offers a wider variety of styles than theprivate Buddhist rites heard in sections one and two. Here we aretreated to music performed during processions, festivals and dances.There are also examples of pieces for solo vocal, cymbals and flute.Music that is devotional in nature and ritualistic in practice is oneof the most pure and genuine forms of expression, and these recordingsare free of the baggage that plagues so much Western music.samples:
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