Each movement of this mass incorporates folk melodies from a different country. The moods and the tempi of the originals have been altered; melodies have been unraveled, spliced together and persuaded to modulate. (12:00)

Arranger: Stephen Hatfield

Nukapianguaq (pronounced Nuhk-ah-pee-ang-guaq) attempts to present Inuit music in a choral setting that remains as faithful as possible to the aesthetics of the original tradition. Inuit chants are usually reflective in nature and spiritual in intent. They frequently aim at a kind of inner awareness and harmony with life that is comparable to the liturgical music of India and Tibet. A marked exception is the war chant which finishes the piece, which should end in a suitable frenzy.The chants included here do not have lyrics. The syllables used on the field recordings on which this piece is based have been identified by an Inuit teacher as a kind of 'scat'. Often the singer will improvise with verbal sounds that rhyme with the name of the child who is being sung to sleep, or the name of the person the singer wishes to honor.

Arranger: Stephen Hatfield

Contents: Lan Hua Hua (Blue Flower) - Da Mai Hao Zi (Threshing Wheat Song) - Yang Guan San Dei (Song of the Tang Dynasty).

Arranger: Liu Zhuang

This original piece incorporates a multiplicity of multicultural influences, from Peru to Scotland. The text is a sequence of nonsense syllables, imitating the humming and muttering one does during housework. This first movement explores various hemiola patterns culminating in vocalized drum patterns modeled on Arabic and Indian traditions.

Arranger: Stephen Hatfield

This original piece incorporates a multiplicity of multicultural influences, from Peru to Scotland. The text is a sequence of nonsense syllables, imitating the humming and muttering one does during housework. This second movement, whose slow groove is derived from Raggae, incorporates tonalities and scale structures from Brazil and Lebanon.

Arranger: Stephen Hatfield