and Les Communiantes (1977). Despite resenting much of his strict religious upbringing, he continued to maintain a strong spiritual disposition, still believing in God while having no allegiance to any specific denomination. Application of language and multilingualism The study of linguistics fascinated Vivier from a young age, and many languages are used in the texts and librettos of his vocal pieces, oftentimes juxtaposed on top of one another. He was a polyglot who would learn multiple languages at the same time — he is known to have been completely fluent in French, German and English, but he also took extended notes and studies on Greek, Latin, Italian, Balinese, Malay, Japanese, and more. The degree to how educated and conversational he was in the latter languages is not fully known. Several examples of multilingual texts are present in Vivier's music. Chants (1973) predominately features a Latin text, which is sometimes manipulated in the form of being spoken backwards. The lexicons of other languages, including Polish (mamouchka for "mother") are also present. The similarly Latin text from Virgil's Eclogues, alongside many other quotations, is used in Liebesgedichte (1975). The latter half of Glaubst du an die Unsterblichkeit der Seele? (1983) features the male narrator reciting a combined text of French and English. The langue inventées Vivier first recalled his tendency to create new languages as a child, saying his lack of identity and parents led him to, "[fabricate] my origins as I wanted, pretended to speak strange languages. [...] My whole sensibility became refined and increasingly I drew a veil around myself: finally I was protected!" The first example of this technique being used is in his piece Ojikawa (1968), albeit with a string of nonsense-words (e.g. "Niêdokawa ojikawa na'a'a'ouvina ouvi") strung together by the vocalist — similar to the sound poetry and grammelot of dadaists like Hugo Ball and Christian Morgenstern. Liebesgedichte (1975) follows a similar motif, but the text becomes more uniform and the basics of a functioning language begin to form, including repetition and a phonetic inventory. He attempted to learn the official languages of all the countries he visited, and the influence of these languages, mostly of Asian origin, show up in the sound of his own. Vivier would say, "All this language is the result of automatic writing. I have always invented my own language." The specific phonemes Vivier would use were deliberately chosen for their "emotional