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

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12 The Chorus resembles free verse in both form and tone. The important Chorus sections appear during the Line Dance, the Robot Dance, the Flying Dance and the Animal Dance. The furst letter of each of the key words of these Chorus segments forms the acronym "SHADOW." The following example is from tiie Line Dance: CHORUS Said, said, said, said the Stars. Said-said, said they SOOTHINGLY HAPPILY ANOlTOvlOUSLY DARINGLY OmCLALLY wicKEDLY Each of the voice parts were processed electronically in different ways. This convention contributed signiflcantiy to the particular identities of each voice, and aided in generating interesting and unexpected musical characteristics from readings of the text.
CHAPTER m METHODOLOGY AND MATERL\LS heartBEAT features an electronically produced soundscore, utilizing current developments in digital sampling, synthesis, and tape synchronization technologies. The score was composed, performed, engineered and produced by the author at Broadway Studios, Lubbock, Texas, and is the result of three years of applied study in these related technologies. Methodology The Post-Score Process The soundscore to heartBEAT was post-scored, or prepared after the visual portion of the artwork was complete. This allowed for considerable flexibility in sound design and aided in a more complementary musical contribution to the overall dramatic tone of the piece. Background. The post-score process is used widely in preparing audio for film and television. This method saves producers and directors valuable time when in the field filming or shooting a work, as critical attention can be shifted away from audio elements during the filming process. Aesthetically, post-scoring allows for visual design to remain the primary interpretive vehicle of the script. Music and sound can then be used to provide subjective reinforcement to dramatic form. Working Method. In preparing the soundscore, individual scenes were viewed repeatedly until the visual tone and dramatic content suggested a musical or auditor.' setting. While watching the screen, music was initially improvised until specific musical dimensions of the section (tempo, key, and themes) were determined. A click track at the chosen tempo was then gridded against subsequent playings of the scene. Visual edits, graphic elements and spoken text could thus be converted into musical time, appearing in relationship to specific measures, beats, and subdivisions of beats. The primary 13
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 and 12: 5 Television Immediacy. Television,
Page 13 and 14: CHAPTER n STRUCTURAL DIMENSIONS hea
Page 15 and 16: 9 Before this recitation ends, the
Page 17: 11 The Spoken Text The spoken text
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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