This large-scale choral work presents in one large bundle many of Lou Harrison's preoccupations, both in life and in music. The very language of the title and text reflect his life-long advocacy of the artificial "world language" Esperanto. Secondly, the text is Buddhist, Harrison's preferred religion, being an Esperanto translation of "The Heart Sutra, " a central part of the Perfect Wisdom Scriptures of Mahayana Buddhism. Next, there is an expression of Harrison's universalism, for the "Perfect Wisom" scripture has the same aspirations and philosophical aims of the early Greek idea of "Hagia Sophia" or "Holy Wisdom." Next, the music shows his interest in music that avoids for the most part the Western element of functional harmony as the energizing factor in music. Instead, harmony and rhythm and a flow of tone color substitute for the missing element of harmony. Harrison's interest in music and philosophy of the East is obvious in the text; the music, while not specifically Asian, flows in a way that sounds more Asian than European.

Then there is his interest in percussion music. This is reflected here (along with another aspect of his music from the East) in the use of a large percussion ensemble called an "American Gamelan." The gamelan is the name of the large percussion orchestras of South-East Asia and Indonesia, particularly Bali. It comprises gongs and many pitched metal instruments, cymbals, and the like. An American Gamelan is a similarly metal-based percussion ensemble, but using "American" percussion instruments, some of them found instruments such as brake drums. All of this creates a sound and a mood of profound beauty, meaning, and dignity, very much unlike almost any other choral piece. It is a work of substantial dimensions, nearly thirty minutes in length. It was premiered at an international Esperanto conference in San Francisco on August 11, 1972.

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