"[6] He utilized four sound sources: a Laotian mouth organ (slowed down), metal Byzantine jewelry (amplified), crotales, and hammerings on the inside of a piano.
"[9] Nearly 22 minutes in duration, it is essentially a single, slowly changing, complex mass of sound;[3][8] musicologist Makis Solomos compared it to "the experience of listening to the clanging of a large bell—from inside the bell.
[3][5] Author and composer Jonathan Kramer suggested that the form of Bohor exemplifies what he called "vertical time," in that it "lacks internal phrase differentiation," using sound material that is "largely unchanged throughout its duration.
"[11] Writer Agostino Di Scipio noted that, at the time it was composed, Bohor was "one of the most radical attempts at annulling linear articulation in Western music,"[12] as it is "void of recognizable logical progression.
"[13] Bohor was premiered at the Festival de Gravesano in Paris on December 15, 1962,[14] and resulted in a scandal partly due to the high volume of the sound system.
"[20] Writing for The New York Times, Donal Henahan described the work as "a 22 minute bore... suggesting what one hears when he finds himself seated too near the dishwashing room at a banquet.