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

CHAPTER IV
CONCLUSIONS
In the author's survey of artworks of this kind, it is evident that the often superb
conceptualization and execution of visual design in television art has not always matched
with an equal attentiveness to sound design. This has been due largely to technological
limitations. Until recentiy, tape synchronization technologies were expensive capabilities
to support, and were thus largely unavailable to projects with limited budgets. The advent
of computer music technology has made the creation of large and complex soundscores a
logistic and economic possibility as well, affording composers and producers total,
flexible control of a synchronized musical score.
The creation of a carefully designed and executed soundscore was a primary
objective in heartBEAT. Considerable attention was addressed to the engineering and
production aspects of the work. As a result, noise levels have been kept to an appreciabl>
low level, and the final mix is characterized by the careful balance and placement of
sounds in a 180-degree stereo spectrum.
heartBEAT will be submitted for broadcast presentation in the United States and
Europe, for closed-circuit presentation in museums and galleries, as well as to major
festivals and competitions. At this writing, the piece has been submitted to tiie Houston
International Film and Video Competition and the Third Coast Music Project in San
Antonio, Texas. Efforts are currently being conducted to arrange for a private release of
heartBEAT on VHS, Beta and audio cassette formats.
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