Pharmacon Alien: Munchausens Lullaby

Act 1, Part 1. An Experiment Using the Perceptions of All Involved

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An Experimental Colour Opera for Vocalist, Pianist, Secret Sound Artist, Guitarist and anonymous sound/visual artist. Recorded in Firth Hall in March 2015 Players: Alex Gowan-Webster, Jonathan Higgins, Jay Platt, Oliver Margerison and Isaac Baggerly Contents Explanation of Piece (pp. 3-5) Piece Instructions for Performance (pp. 6-7) Stage Layout (p.8) Secret Artists Score (pp. 10-21) Pianists Score (22-34) Vocalists Score (36-46) CD of Recording of Performance DVD of Performance

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Pharmacon Alien: Munchausens Lullaby: Act 1, Part 1. A strange conversation between patient and doctor This piece is inspired by the psychological condition of Munchausens Syndrome and the idea of colour-music.

The Architecture of the Piece The Oxford English Dictionary defines opera as a dramatic work in one or more acts, set to music for singers and instrumentalists. This opera however experiments with certain factors such as instrumentation, notation and the dramatic element. Firstly, we have a very small orchestra consisting of piano, and sonic artist who play from individual graphic scores. They create sounds and noises independently that mix together to create chaotic harmonies and schizophrenic phrases to confuse, delight and upset. On top of this foundation sits the singer who plays two characters (a patient and a doctor) hidden in the sounds of the voice. The singer uses a megaphone to add to the distorted texture of the piece but also practically as a tool of projection. Each nuance of the larynx is projected helping strange throat sounds to be carried to ears that would otherwise be lost. The next instrument is traditionally bizarre and is a tool to be used by an artist to create music, portray music and to create the visual dramatic element of the opera: the projector. The projector enables the artist to create dynamic light paintings and these abstract expressions of mood fuse together with the sounds. The changing colours, textures, tones, phrases and accents on the canvas become the physical entity of the music through the artists perception of the sound. This synaesthetic experiment is an attempt at marrying sound and light and to further accentuate this the guitarist interprets the art to create sound that in effect will be mapped by the artist. A cycle of interpretation is born. Towards the end in the final section when the noises have died down the ensemble begins to work totally from art to create sounds. Each player has an individual painting. By following points and lines and using their personal perception they play the painting. The result should be a moment of madness. While this is happening the artist delves into a world of ecstatic colour movement as they themselves try to interpret the madness on a canvas. The artist fully immerses himself or herself in a frantic wrestle with colour and sound. The noise stops, the colour stops and a silence entails. The only thing left is the canvas that has mapped out the chaos of the sound, with its particular harmonies and accents that will never be played exactly the same again.

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The Research Aspect I wanted to explore the musicality of lines and points on a page. I wanted to inject a strong musicality within the graphics. I researched many different artists such as Kandinsky and his Painting Music: Rhythm and Movement in Art, and then later on Morgan Russell and Stanton MacDonald-Wright. However, unlike these artists I wanted to create a linear score of music using certain shapes and lines to depict what I heard in my head to then see if the player created a sound similar to it. My research helped me create shapes that hold a musicality inside their edges that bleed into the next section or shape. I was very interested in the synaesthetic elements within the piece. I wanted to experiment with how different people perceive different shapes, colours and lines independently. The musicians use my graphic scores, which I deliberately try to draw as musical as possible, to then process, in their own perception, as sound. This procedure is the reason I myself commit to creating graphic scores. The musicians use the lines to create phrasing, they determine which tone or pitch will be played by measuring where a certain shape is on the page; detailed sounds can still be created using graphic scores, but this has to be channeled through someone elses consciousness. It is an exciting process, as you know the shape of the sound, but you dont know what it will ultimately sound like. I also wanted the performance to be strange and slightly odd, hence the mask and the use of a megaphone. I used the dramatic theory of Antonin Artaud. I wanted the audience to be uncomfortable, shocked, possibly annoyed by the sounds and uncontrollable phrasing. I also researched the Russian tradition of dynamic light music. This gave me the idea of using the projector to create painted images that moved without digital help. I was also inspired by Bruce McLeans attempt at a work of Gesamtkuntswerk that involved many different disciplines of art. Future Development I want to explore further into the genre of opera. I want to use this piece as something like an overture. The process of this piece has inspired me to evolve a strong story and to develop the dramatic elements. I also want to research the morphed notation and to apply it to a bigger group of instruments and I intend to how an orchestra would sound playing a piece akin to this.

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PHARMACON ALIEN: MANHAUSENS LULLABY Act 1. Part 1. Instruments Voice (megaphone and siren) Piano (grand piano and whistle) Electro-acoustic sound artist (instrument choices stated in score) Guitarist (whistle) Art worker/painter (see below) Play the scores as written; all information is within the scores. YOU MAY DESIRE TO ALL WEAR SURGICAL GLOVES Art worker/painter Information The Art worker is responsible for creating the dramatic effect of the piece and is a crucial instrument within the opera. Equipment needed: Over-head projector Decorators overalls with hood to wear Plain white mask to wear Surgical gloves to wear Acetate Water-based paints of any colour Instruments such as sponges, syringes and brushes to spread the paint 2 floor protection sheets 1 white large cloth 1x litre red paint 1x litre blue paint 1x litre yellow paint Cleaning products (just in case) Directions of Play

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As the piano begins to play the strings count to 10 (in seconds) and enter stage right and stare into the eyes of the audience. MOVE SLOWLY LIKE A SWAN! DO NOT JUST WALK ON LIKE AN APE! ACT LIKE THE PSYCHOPATH YOU ARE! Then move towards the projector and begin to paint and visualize the sounds you hear. Scratch, smudge, smear, wipe, bristle and brush. Layer the acetate and play with the liquid element as it moves around in the light. When Part 1 is approaching the finale you will hear a loud continuous whistle from the secret sound artist. This is your cue to move onto the mats. As soon as the Pack Leader has given the signal to begin the abstract perception section start covering yourself and the white clothe canvas in paint according, again, to the sounds you perceive. Become violent and flamboyant. Make the audience aware of your passion hidden within the sounds. When you hear the music fade away and a piercing whistle and siren taking its place hit the ground like a rag doll and do not move until the lights have gone down. Then walk off and clean yourself ready for Part 2. Act 1. Guitarist/ Pack Leader Lead the musicians when the changes of sections need a natural conductor. Be sly and subtle but make the musicians full aware of your movements. As a guitarist, use a finger slide all over the body of the guitar. Do not play the guitar conventionally but study it and discover the strange noises that lurk beneath the shiny gloss. These noises will match whatever the Art Worker is creating on the projector. You have to transform visual art into music. Plan for Pack Leader 1. Pianist begins. 2. Art Worker ascends the stage. 3. Begin to play his art. 4. Some time later when the music has faded and all you can hear is a high whistling tone from the secret sound artist and the stroking of piano strings cue the Art Worker to descend to his canvas. 5. Cue in the musicians to begin their abstract art section. 6. Scream, shout and play. 7. When the sound has come to a natural end cue the musicians to blow their whistles and to sound the siren. 8. After 1 minute of high-pitched whistling cue them out.

9. BLACK OUT

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The piece is better off being performed in any venue than a concert space. Warehouse, air hanger, back alleyanywhere that can create a strange atmosphere for the audience. If possible a red light on the audience would be appreciated. DARKNESS IS KEY!

Darkness on-stage. Bright spot on floor canvas when artist moves there other than that think GLOOMY.

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PAGE BREAK

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SECRET SOUND ARTISTS SCORE

First performed by Mr. Alex Gowan-Webster

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Secret Sound Artist Instruments Needed Wine glass with bow. The wine glass will produce a tone, depending on the size; similar to a mellow whining when it is bowed.

Sand Paper. Rubbing the sandpaper together will create a rough brushing percussive tone.

Pipe. Blowing and singing through the pipe will create different effects such as sounds similar to the wind and explosions.

Saw. Bowing a saw and bending the saw, whilst held between the knees, will create a mellow legato tone. Different degrees of bending will produce different tones.

A bell. To hit, tap and smack. A xylophone. To create different unstated tones. Drum. A pepper grinder A piece of translucent plastic projection paper A box of smashed glass.

Body Parts Needed Fingers. For tapping. Lips. For whistling and smacking

Machines A microphone. An amplifier or speaker system. Effects pedals or computer program with effects.

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Page 1 Instruction Take your time between each section and let each sound/noise reach its full potential. Begin with 50 seconds approximate of silence.

1. Using a wide rimmed wine glass bow the rim of the glass to create a high-pitched tone. Use strong reverb and let the tone resonate. Approx. 10 seconds.

2. On a hard wooden surface tap your fingers lightly with force. No reverb but a delay effect will create a busy texture that stabs the air. Let the noise slowly fade out. Approx. 20 seconds.

3. Similar to instruction 1 but much more fierce and jolting. This noise must be very loud. If no tone is created, the dragging percussive sound of the bow should be projected. Approx. 2-5 seconds.

4. Using an open-ended tubular object (pipe) blow air through it to create a spinning

rasping noise. This should be quite a calm but violent noise like wind being blown through an underpass. Approx. 10 seconds.

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Page 2 Instructions

1. Using a manipulated tone created by either a low humming or a the lowest string on the bass create a noise which swoops as a short drone coming to a climax and the settling back down. The time to hit climax should be around 5 seconds but the decrease in energy following can be as long as you see fit.

2. Using a saw placed between the knees with the blade facing upwards, bend the blade and bow to

create different tones. Try to create a legato and smooth transition between each note. Reverb would be suitable to carry each note. This passage can be quite long and gradual to increase the resonance of the passage.

3. When the saw has safely been placed somewhere shake a safely sealed box of smashed glass once

to create a harsh hit. This can be quite loud and roaring and should linger so reverb would be a good option.

4. 10 seconds of silence.

5. With a pen or a drumstick of some kind lightly tap a wooden surface to create a blunt short

noise with various levels of volumes on each hit.

This carries onto the next page.

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Page 3 Instructions Tapping.

1. This next passage requires some sort of stringed instrument (violin, viola, guitar, bass etc.). Sporadically bow the instrument on any string as you follow the lines in the graphic. Screech, rub, drag and HIT. It should sound mad. Approx. 15 seconds.

2. This wind breath can be created with the pipe or with your mouth; it needs to be loud and

imposing. It should have a rumbling quality that can carry on as a drone. The breath tone fluctuates from high to low, so if a tone can be created this would be preferable.

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Page 4 Instructions 1. Over the breath drone from the previous page the bell is played. The bell should be resonant but not too overpowering. It should be quite sharp and ring in the listeners head. They can be of varying volumes according to the graphic. Ample space should be left between each bell ring so a busy texture is avoided. 2. After the last bell hit and after a small gap of negative space a drone tone begins quite loud and gradually becomes indiscernible to the listener. This tone should be of a middling pitch and grainy with plenty of reverb. This should last for approx. 15 seconds. 3. The next section consists of an invariant tapping of a wooden surface. Again you can

use the drumstick on the wooden surface. This is sporadic tapping.

4. Ad lib section. Choose anything and any effect to manipulate a series of MAD noises. Follow the graphic and try and imitate the movement of the lines and splurges of positive space. Approx. 5-20 seconds however this may be continued into the next page.

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Page 5 Instructions

1. After the ad-lib section has gradually faded away one tone should be left hanging on which becomes a sliding drone. The slide could either be computer manipulated or you can use a slide on a guitar or bass etc. Approx. 5-7 seconds.

2. A BANG. Create by hitting a table, clapping or stamping but it has to be picked up by the

microphones. Make it loud and aggressive.

3. A short silence.

4. Using a xylophone or other instrument and reverb play a variety of tones. Play them quite separately so there is not too much of a mash up of tones. See graphic for pitch and volume. (Volume = shape and width). Approx. 30 seconds.

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Page 6 Instructions

1. This page can be interpreted using a many different instruments such as a slide on a guitar, a computer manipulation of a tone, the voice, a whistle, a bowed instrument, a bowed saw etc. Anything that can create sliding between notes. The lines correspond to different pitches and lengths of slide. The lines that fill some of the negative space between the pitch lines and the slide lines correlate to texture. I would suggest reading the graphic like a book, from left to right and then down to the next line. Or if you have better suggestions trust yourself and play it strange. These noises should be spooky and uncomfortable to the listener. This should last approx. 40 seconds.

2. The last whirl/slide should morph itself into a slender drone, thin and wispy, like an

old mans whistle, so you could use a whistle or your own whistle. This will lead you to the next page.

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Page 7 Instructions

1. The wispy weak drone then becomes a fat splurging rumble of a drone that fluctuates from

strong and beefy to little and wimpy. You could manipulate the whistle or use the pipe blown into the microphone. Approx. 20 seconds.

2. Towards the end of the drones life it should semi-splurge then stop dead.

3. This abrupt stoppage is followed by a silence.

4. Do not rush to do the fast bow. Wait for a good moment and then let it rip.

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Page 8 Instructions

1. After the quick bow from the previous page, take your time in bowing very long tones on any choice of instrument. Try and create the smoothest tones of the piece, possibly with reverb or delay. Approx. 40 seconds.

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Page 9 Instructions

1. Silence for approx. 10 seconds.

2. Create a high whistling tone, not too loud or aggressive, until the piano has died away and the singer has finished his sections. Then turn the page.

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Play this painting. Use every conceivable technique to create any noise from the piano! You have interpretative control! LET OUT THE PRIMATE! RELEASE THE HOODLUM! INSULT THE AUDIENCE! When donethe Pack Leader will bring you in to whistle! Pierce the ceiling! Once the whistling is donethe Pack Leader will bring you out.

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PIANISTS SCORE

First Performed by Mr. Jay Platt

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The Pianist playing preferably a grand piano You can use any part of the piano you like. Some sections have specific instructions about which part you play but otherwise experiment. Techniques 1. Strumming and picking the strings inside the piano.

2. Touching a string and pressing down the correlating key to create harmonics.

3. Creating different effects with the pedals.

4. Hitting the piano. 5. Singing into the piano.

Remember to take your time with each passage. Be inspired with the sounds that the other musicians create.

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Page 1 Instruction

1. Begin the piece softly and soothingly. Brush the lower strings gently and create a wave like texture. Hold down the pedal throughout so each sound mingles. Begin piano and gradually increase the volume. Approx. 25-30 seconds.

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Page 2 Instructions

1. These chords should be as mellow and smooth as possible whilst the strings are still being brushed. The note values do are free so play them as long or as short as you want.

2. This single high note should be piercing and percussive.

3. Again and very mellow chord but possibly slightly more aggressive and jarring.

4. After the last chord has died out begin to decrease the brushing of the lower strings and

on the last brush make it low and let the noise rumble for 10 seconds approx.

5. This chord should be slightly louder than the last but still not fully aggressive. Let it resonate. Approx. 10 seconds.

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Page 3 Instructions

1. A much heavier chord held for 7 seconds approx. Still dont let the sound become too heavy.

2. A very quiet weak chord followed by a few single notes which can be interpreted by you any possible way you wish for any length of time.

3. The next chord should be louder to sustain it for approx. 10 seconds.

4. Whilst playing this passage think of rain. Not heavy splurging rain but light, prickling rain

that stings the face on a cold morning. Very quiet.

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Page 4 Instructions 1. Follow the graphic in any way you want. Dont get hung up on what notes youre playing, as

the markings on the paper arent specific notes. If it helps, this graphic makes me think of a machine, blocks of metal, working sufficiently. Approx. 20 seconds.

2. This section reminds me of a typewriter.

3. This is followed by a silence.

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Page 5 Instructions

1. Continued silence. Approx. 10 seconds.

2. This graphic is a freaky one. Think of willow trees, tentacles, slimy things, and an old mans long uncut yellow fingernails. Its a lazy passage slurping down to the next section.

3. This harmonic box means it time to play harmonics. Reach into the piano and play any number

of harmonics, possibly letting your hand on a certain note follow the movement of the lines. These harmonics have to be resonant so heavy pedal. 4. This section is similar to section 2. Very creepy and sloth like. However it shoots to the next page so energy is needed at the last possible moment.

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Page 6 Instructions

1. This passage is made up of boxes of chords, clusters of sounds. The time scale and pitch is determined to how big and fat the boxes are and their location on the score. Take your time with this page. Let each box ring out.

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Page 7 Instructions

1. This line can be interpreted as a pause?

2. This section reminds me of a rock face, a crumbling wall of brick, but not in a heavy sense but gives me a feeling of light scraping and falling.

3. This section is like a rollercoaster: different lines and shades mixed in with the big block. Have

fun.

4. The tempo marking is not serious but try and play a 1000 beats per minute. This section is like a fell runner who instead of jogging has bolted up and down the jagged mountains.

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Page 8 Instructions

1. As it states, this page is incredibly slow with each note being majesticringing forever. Dont worry about how long you are taking. TAKE YOUR TIMEBE LIKE THE SNAIL.

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Page 9 Instructions

1. Again brush the strings and entwine the noises.

2. Stamp your feet and make it noticeable.

3. Begin to brush the lower piano strings again.

4. The brushing carries on into page 10.

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When the all you can hear is the piano you are playing and a high whistling tonefade away to silence then turn the page.

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Play this painting. Use every conceivable technique to create any noise from the piano! You have interpretative control! LET OUT THE PRIMATE! RELEASE THE HOODLUM! INSULT THE AUDIENCE! When donethe Pack Leader will bring you in to whistle! Pierce the ceiling! Once the whistling is donethe Pack Leader will bring you out.

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PAGE BREAK

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VOCALISTS

SCORE

First Performed by Mr. Jonathan Higgins

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Vocalist with MEGAPHONE (preferably with a inbuilt siren) Follow the score as written whilst using the megaphone. TAKE YOUR TIME! DO NOT RUSH! Try to project every sound and let every strange tone resonate.

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SILENCE

until you hear the whistle tone and no piano. Interpret the painting on the next page when you hear either the pianist or the

secret sound artist begin theirs.

GO MAD!

EXPERIMENT!

BECOME UNCOMFORTABLE WITH YOURSELF!

DISTURB!

SING! WHINE! OINK! CROAK!

Once you have donefade awaythe Pack Leader will begin to whistle and scream!

WHISTLE AND SCREAM!

PLAY THESIREN ON THE MEGAPHONE (if it has one)

PACK LEADER WILL BRING YOU OFF

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