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

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40 tile "vault." A "vault" is also a sort of tomb or grave, such as the one into which you will see the boy's mother placed-a kind of Freudian repository. obstacle. EDNA And, of course, there is the act of "vaulting," as in vaulting over or past some Ladies and gentlemen....Vault. SARA (Vault screened) EDNA A footnote. Among its many honors. Vault won the highest award among 246 American entries at the 7tii Annual Tokyo Video Festival. In fact, Vault has been so successful that the Yonemoto brothers have been able to secure major financial backing for a feature-length film to be called Made in Hollywood. Shooting is expected to begin this summer in L.A. SARA Changing the pace qiute a bit, our next work is a "rock video"...Michael Smith's Go For It Mike! In this work. Smith achieves a tone of what might be called "affirmative irony," as he explores the sometimes silly, sometimes sublime pioneering spirit we associate with the settling of the West. An example of such "affirmative irony" is found in the soundtrack, which the artist describes as a cross between ZZ Top and Up With People. EDNA Go For It Mike! has been well received, as indicated by its winning the Video/Culture Canada award in 1985 for best independentiy produced music video. Now. Go For It Mike! (Go For It Mike! screened) EDNA And now, the featured work of the evening, tiie premiere of heartBEAT. And, to intoduce it, the writer and producer of heartBEAT. Kim Smith... SARA and David Kneupper, who created the soundscore. KIM Thank you.
41 DAVID Thank you. KIM As some of you know, heartBEAT began a little over two years ago, in Febmary of '86, when David and I had agreed in principle to do a short, dramatic work linking music and video. As I worked over the next several months on a script to present David with, a number of ideas remained central. One was the simple phrase that served as the cornerstone for this work: "Thoughts are cerebral gunshots." Another was the notion of some kind of play or simple oscillation between opposites, such as between light and dark, masculine and feminine, the commonplace and the extraordinary. DAVID Perhaps the most obvious central idea is a purely formal one. The flow of images in heartBEAT is set within an overall structure that can best be described as musical. There is a prelude, four movements (the "4 Thoughts"), a conclusion, and coda. Thus, heartBEAT might be described as a "music drama," a "long-form" or "narrative-form music video", a "mini-opera" or, since the look and feel of television is prominentiy featured, a "television opera." KIM Anyway, I presented David with the script later that spring, and he agreed to prepare the soundscore. In January of 1987, we taped heartBEAT in the watercolor studio of the Art Building. We had temporarily transformed the room, between semesters, into a television studio. It was there that some 50 of us spent 10 long production days. And, in November of 1987,1 was able to present David with the final edited version of heartBEAT for which he could, in earnest, begin to prepare a soundscore. David, it is now your story. DAVID The soundscore to heartBEAT was prepared over a five month period at Broadway Studios in Lubbock in a suite specifically designed for preparing audio for video. The work is a pioneering effort in electronic synaesthesia, and attempts to engage the eyes and ears simultaneously with a single aesthetic presentation. KIM Without making this sound too much like the academy awards, at least not just yet, we'd like to thank a number of individuals who made this project possible. First of all, I'd like to thank the Chairman of the Art Department, Terry Morrow, who provided encouragement and the initial funding support of heartBEAT. We'd both like to thank the
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 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: 39 SARA This brings us back to TV.

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

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