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

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FIGURES 1. A List of Materials Used In the Preparation of the heartBEAT Soundscore 16 2. A List of Structural Divisions Witiiinhearj^EAT 18
CHAPTER I HISTORICAL PERSPECTIVE Introduction heartBEAT is an attempt to relate aural and visual sensation as a single, unified aesthetic experience. This desire has produced, throughout history, numerous attempts at combining these two modes of perception. Such efforts have been both theoretical and practical in nature, originating from the interrelated fields of philosophy, science, art, drama and music. Synaesthgsia The tendency to associate between aural and visual sensation is a common one, observable in such familiar areas as language. Descriptive phrases such as "loud reds" and "muted browns" are useful and accepted metaphors. In music, string sounds can be "bright" and a voice "dark." The association can be more complex, however, not limited merely to the senses of sight and hearing. The Cherokee Indians had color associations with the sense of direction. South was seen to be "white," North "blue," East "red,' and West "black."^ Though in no way conclusive, these examples do suggest a complex and highly subjective relationship between the senses. This relationship is known as synaesthesia. Traditionally, the term describes a particular psychophysical experience, in which the stimulation of a single sense arouses images from the other senses. To such an individual, the sound of a bassoon may have a characteristic color and taste, as well as sound. One of the most common manifestations of the synaesihetic experience is "colored hearing." Widely noted by researchers in the early part of this century, synaesthetic individuals were reported as having strong color sensations from a variety of auditory stimuU.^ One blind subject, for example, professed a sudden understanding of the color "purple," as "the sound of a trumpet.'
Page 1 and 2: THE SOUNDSCORE TO heartBEAT: A NARR
Page 3 and 4: FOREWORD The following document is
Page 5: CONTENTS FOREWORD ii ACKNOWLEDGMENT
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 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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