p.s. Michael Berkeley: "As a composition student I played rock music on the side, an experience that taught me a lot about direct communication and enabled me later in life to enjoy some brief but rewarding forays into film and commercial music. So when the conductor Richard Hickox rang me one day in 1984 to ask if I could help with a rather unusual job for which he and his choir had been engaged, I was intrigued. Kate Bush, it transpired, was working on her new album, Hounds of Love, and for one track, Hello Earth, she wanted a chorus to recreate the orthodox singing/chanting that made such a contribution to the film Nosferatu. The only problem, Hickox explained, was that there was no sheet music available and that anyway it would need to be notated and completely re-written to fit the Hello Earth track. Slightly bemused, I think - this was a far cry from his more customary Gluck or Vaughan Williams - he asked if he could put Bush in touch with me." from 'Kate Bush rules, OK?' Guardian Unlimited Arts.
http://arts.guardian.co.uk/features/story/0,,1589379,00.html
p.p.s. In 'Sheep in Fog' Sylvia Plath creates a complex extended metaphor where the subject is her own spiritual experience. "Fog" is an important catalyst in this process because it indicates a state of perception and comprehension where the definite borders between concepts break down allowing the concepts to merge into each other, becoming a higher unifying concept. The higher concept necessarily causes an expansion of consciousness in the reader. The poet explicitly states the images "sheep" and "fog" only in the title. The first stanza mentions "hills" and "whiteness". These concepts already blend into "sheep" and "fog". Then the sheep are further metamorphosed into "people" and "stars" indicating a further personification and a reaching into the cosmos. (See 'Sheep in Fog,' Ariel, Sylvia Plath, 1966.)
p.s. Michael Berkeley: "As a composition student I played rock music on the side, an experience that taught me a lot about direct communication and enabled me later in life to enjoy some brief but rewarding forays into film and commercial music. So when the conductor Richard Hickox rang me one day in 1984 to ask if I could help with a rather unusual job for which he and his choir had been engaged, I was intrigued. Kate Bush, it transpired, was working on her new album, Hounds of Love, and for one track, Hello Earth, she wanted a chorus to recreate the orthodox singing/chanting that made such a contribution to the film Nosferatu. The only problem, Hickox explained, was that there was no sheet music available and that anyway it would need to be notated and completely re-written to fit the Hello Earth track. Slightly bemused, I think - this was a far cry from his more customary Gluck or Vaughan Williams - he asked if he could put Bush in touch with me." from 'Kate Bush rules, OK?' Guardian Unlimited Arts. http://arts.guardian.co.uk/features/story/0,,1589379,00.html
p.p.s. In 'Sheep in Fog' Sylvia Plath creates a complex extended metaphor where the subject is her own spiritual experience. "Fog" is an important catalyst in this process because it indicates a state of perception and comprehension where the definite borders between concepts break down allowing the concepts to merge into each other, becoming a higher unifying concept. The higher concept necessarily causes an expansion of consciousness in the reader. The poet explicitly states the images "sheep" and "fog" only in the title. The first stanza mentions "hills" and "whiteness". These concepts already blend into "sheep" and "fog". Then the sheep are further metamorphosed into "people" and "stars" indicating a further personification and a reaching into the cosmos. (See 'Sheep in Fog,' Ariel, Sylvia Plath, 1966.)