ABSTRACT
This chapter looks at the liturgical framework of the several public national rites and then at the music employed. The relationship between the liturgies themselves and their projection on the global media forms a dominant thread throughout. The liturgy itself was ail innovative mixture of Christian invocation, personal tributes, and ending conventionally with prayers, the blessing and commendation. Probably most poignant liturgy of the week remains, however, entirely private. Piped music accompanying undischarged griefs over untimely departures was transmuted into true musical splendour to honour the dead, and into full and sufficient absolutions. Only liturgical drama and musical harmonization can achieve a corporate restoration, which is also by projection available for every man and every woman. The congregation assembled to seven minutes of unobtrusive organ music by Harris, sometime organist of St George's Windsor, until the cortege arrived at the west door.
