THE SOUNDSCORE TO heartBEAT: A NARRATIVE-FORM MUSIC ...

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e viewed as being as much about television as any of the other literary, musical or dramatic themes it presents.
CHAPTER n STRUCTURAL DIMENSIONS heartBEAT is a work of television art, integrating the physical aspects of the television medium witii the symbols through which it speaks to our culture. The work draws from the related disciphnes of visual design, drama and music in a musico-dramatic form uniquely designed for (and about) television. Central to the aestiietic of this work is the presentation of three distinct, yet interpenetrating levels of meaning simultaneously. Conceptual Levels Plot-Narrative Level On its most obvious, plot-narrative level, heartBEAT is the story of a man (MR) returning home from a long day at the office. He goes to the bathroom and bathes, shaves and dresses for bed. During these activities, he reflects on his life, his job and his family. MR goes to bed, falls asleep and dreams. Psychological Level As we observe these events, heartBEAT explores a second idea: the process of thinking. At the beginning of the piece, the Host and the Expert/Contestant discuss dioughts. Graphics appear which read, "THINK." We see Rodin's The Thinker. The process of thought is explored through the symbols of thought. In a stream-ofconsciousness style, MR's thought sequences are presented as montages of both image and sound. Familiar to the viewer at first, these thoughts become more cryptic as the work progresses. Symbolic elements (the gun, the head. The Thinker, the car horn, an elephant playing the harmonica, bells, the telephone) reappear throughout the piece in new combinations and forms. These symbols eventually arrange themselves as large patterns of elements from which many possible meanings can be derived.
Page 1 and 2: THE SOUNDSCORE TO heartBEAT: A NARR
Page 3 and 4: FOREWORD The following document is
Page 5 and 6: CONTENTS FOREWORD ii ACKNOWLEDGMENT
Page 7 and 8: CHAPTER I HISTORICAL PERSPECTIVE In
Page 9 and 10: Clavicin Oculaire The first known c
Page 11: 5 Television Immediacy. Television,
Page 15 and 16: 9 Before this recitation ends, the
Page 17 and 18: 11 The Spoken Text The spoken text
Page 19 and 20: CHAPTER m METHODOLOGY AND MATERL\LS
Page 21 and 22: improvements over the Kurzweil syst
Page 23 and 24: 17 Microphones Neuman U87 ShureSM81
Page 25 and 26: Closing Section (Recapitulation) Cp
Page 27 and 28: ENDNOTES ^ Lowrie, R. H., "Psycholo
Page 29 and 30: 23 regular columns and features by
Page 31 and 32: Books and Scores 25 Manuals Appia,
Page 33 and 34: APPENDED A: SPOKEN TEXT AND GRAPHIC
Page 35 and 36: 29 4 THOUGHTS MR shaving. Classical
Page 37 and 38: That's all. Just real surprised. 31
Page 39 and 40: MR in batiiroom, checking the pulse
Page 41 and 42: 35 Tub Dance. MS bathes. MR helps M
Page 43 and 44: Trading lines. Graphic: MR&MS Witii
Page 45 and 46: 39 SARA This brings us back to TV.
Page 47 and 48: 41 DAVID Thank you. KIM As some of

THE SOUNDSCORE TO heartBEAT: A NARRATIVE-FORM MUSIC ...

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