Albert Llanas Rich

Albert Llanas Rich: Compositions, awards, biography and more about the catalan composer

DEDINs defora (from inside, from outside)

(English translation in progress)

Final project

“Master in Sound Creation and Technology”

Phonos – IUA

(Pompeu Fabra Universi
ty
)

“Inside, outsi
de

monologue with
m
u
si
c

text: Luisa Cunillé

music: Albert Llanas

1.- Presentation and Acknowledgements

This work responds to a commission from the Grec-97 Festival to the theatre writer Lluïsa Cunillé and the composer Albert Llanas.”Dedins, defora” is therefore a monologue with music for actress, instrumental group, voiceovers and electroacoustics, which was presented as its own production throughout the Grec-97 Festival at the Mercat de les Flors on July 15.

I would like to make it clear that this work would not have been possible without the collaboration of many people and institutions. On the one hand, the Grec Festival and Xavier Albertí who, as its director, conceived the idea of performing a show that would accommodate the not too frequent reunion of music and scene, and also for having intuited the possible concomitances between the respective works of Lluïsa Cunillé and Albert Llanas. Otherwise I am very honored by the fact that Xavier Albertí has agreed to be part of the qualifying jury of this project, given his long career as an actor and theatre director. Xavier Serra, Gabriel Brncic, Eduard Resina and the entire team of teachers of the master’s degree in “Creation and Sound Technology” for their brilliant explanations on musical technology and the support received at all times.

Perfecto Herrera for his help in the sound shots of the voiceovers made in the sound studio of the IUA and for his technical support.

To all the musicians members of Barcelona 216 and its director Ernest Martínez Izquierdo, who showed professionalism and enthusiasm throughout the assembly process.

To Alberto Bokos for his exceptional work of scenic conception and for having known how to give in the nail despite having had little time to do his job.

To the rest of the technical team – sound, lighting – and to the staff of the Mercat de les Flors for their professionalism and collaboration.

Very especially I must emphasize what it has represented for me to work with Lluïsa Cunillé, perhaps the brightest pen of young Catalan and Spanish theater today. Also, collaboration with her has undoubtedly been a challenge in wanting to tackle the project from the beginning as a work of absolute imbrication between theatrical and musical languages, without this implicitly wearing that some of these elements are imposed or relegated to a second term. Creative chemistry worked from the first conversations and from here on everything was flowing almost well by spontaneous generation. So in terms of form and structure – aspect that as I will comment widely later was considered before – , content, detail and watermark communication was always fluid and agreement almost total.

I also want to mention apart from the great work carried out by Rosa Cadafalch who captivated me from the first moment in knowing how to face a difficult and committed tasting. She knew how to solve her role in a very splendid way, demonstrating at all times absolute mastery of the stage situation as befits an actress of great experience and professionalism.


      

2.- Credits

“Inside, outside”

monologue with mu
si
c

text: Luisa Cunillé

music: Albert Llanas

Actress: Rosa Cadafalch

Instrumental Group Barcelona 216

Music director: Ernest Martínez Izquierdo

stage director: Alberto Bokos

sound design: Ferran Conangla

lamp design: Jordi Casasayas


3.- Project


From the outset both Cunillé and myself expressed a common formal concern. This conditioned the fact that this was the first point that was considered. There was not yet a defined idea or any plot or dramatic thread, but the starting point was on the table. A conception of global spectacle was added to the formal concern. Despite the name “monologue with music” with which the show was finally presented in society – because we believe it was the one that moved away the least, not finding a better one – it is not necessary to understand the project or as a dramatic action with music as it is usually understood within musical theatre, nor as a music brought to the scene with a more or more choreographic intention. It was about devising a show where dramatic and musical resources merged in a single direction, in a whole, so that it was not possible to recognize as autonomous elements only its components of one kind or another, and otherwise that only find its justification within the global context. That is to say, that a certain musical element was not “per se” autonomous, that the text was not self-sufficient and extended taking care of its musicality both in terms of rhythm, diction and even the degree of denotation, aspects that should affect its structure.

In this sense we began the work based on an intense dialogue that occurred during the period between November 1996 and January 1997. While the contours of the project were being outlined, we specified formal aspects: the work had to be a triptych in three tools, we delved into the agreed theme and while commenting and pointing out possible expressive, rhetorical, staged tools among others, they were soon aware that the type of objective they were setting us entailed a series of aspects to consider
:

1 .- The structure, the shape had to be above the individual elements: text and music, but it was necessary to take special care of the dramatic moment and its own cadence.

2.- The intended fusion of dramatic and musical elements entailed a certain individual blurring of the elements of each type, which made us think of a music that far from resigned to the role of mere accompaniment was not absolutely self-sufficient. In the same terms it was necessary to make a nonlinear text that left, spaces – not necessarily temporary – empty, other than, in a word, fulfilled. It was clear that neither element had to monopolize speech and therefore fair balance had to be found. Of the appropriate profiles, and not only of the quantitative proportion, depended on the success of the project.

3.- As soon as everyone was clear about what not to do, we were aware of the perhaps first big problem: the proper treatment of time. Musical time and dramatic time despite evolving parallels do not follow the same gradation. This fact has been resolved very accommodatingly in musical theatre, opera, and it goes without saying in Wagnerian drama or in theatre we call it pure. There is still a great diversity of what we could call “gradations of the temporal imbalance” favoring text or music according to the cases, the general tonic has been the adequacy – more or less forced – of the theatrical time to the musical – Wagnerian drama, arias “commentary” in Italian and French opera -, or vice versa – “pure” theatre with music of “moublely” – or simply sound spawns in onomatopoeia, mostly operatic recitatives -. This aspect had to be one of the fronts where it was most necessary to insist on it if we did not want to run the risk of failing since any uns controlled decanting in one sense or another would immediately cause a masking effect in favour of the text or music that would immerse us in the previously targeted topics.

4.- Otherwise a text generally tells a story, in more or less direct language and the lexicon content of the same allows, at surface level, fewer stretches and ruins than what is permissible in music where memory plays a more easily dilable role. This point was perhaps the most delicate of this whole first phase. We had to strive to work a little call it “counter-nature”, making the extended text conceived not so much musically but articulated, written, … in fact I can’t find the right word, musically. For its part, music had to give up its most alchemy aspect in favor of an immediacy that placed it at a lexicon level close to that of the articulation of the declamed phrase. An excessive move away from this dialectical intersection zone, caused by the radicalization of the articulation camps itself, would cause the distancing and self-affirmation of two different parallel discourses, causing the persecuted balance to break. The text dichotomy would have occurred again, on the one hand and music on the other. To give an example via the metaphor imagine a stereo HI-FI system where the more open the panorama is more clearly possible to realize the ear of what is ringing in each of the right and left channels; when this happens immediately there is an L/R dissociation that in this case as it is two signals of the same type – sound – promote a resulting: the feeling of space. On the other hand, moving this idea to our imaginary text-music stereo system, the dissociation is already given by nature itself as it is two different grammars but without generating this spacing fusion. If you hear from any song the text by the right speaker and the music on the left away from appreciating a sense of increased space what I will get is distance and total dissociation. What we wanted to do was to look for this fusion of languages that becomes a kind of hybridization of both. We believe that it is not by the way of self-affirmation and radicalization of the respective signs of each one that achieves the optimum result. In the case of the audio L/R system it does work because we have similar signals, of the same significant nature. In the case of the TEXT/MUSICA system, the true fusion, the equivalent of the sensation of space of the L/R audio system, will be achieved through the approximation procedure of the respective dialectic.

5.- We were both very clear from the beginning that this type of experiment had to count on a single actor or actress, since it had been agreed that it was a monologue, of high level that knew how to tune into the project. Throughout February they had their first contact with Rosa Cadafalch. From this first contact where he was widely explained the project and was made to hands the draft text of the first scene, arose the need to record short voiceovers in order to make the necessary modifications and incorporate them into the second scene. The feeling of tense calm that most likely produced in R.C. the atypical characteristics of the project followed a total collaboration and commendable enthusiasm. The other aspect that at that time was already seen as crucial was to have a good stage director. This aspect was later resolved with the incorporation of Alberto Bokos.


4.- Procedures

The following tools and means were taken into consideration.
• Text (live, off)

• Instrumental music (Organic of 12 musicians)

• Electroacoustic music

• Computer processing of previously recorded voice-overs.


Outline of interaction possibilities:

Although we will consider several alternatives to give different meanings to each of the possibilities of interaction of the four sources mentioned, putting them in relation to affections and situations with specific dramatic significance, we will finally dismiss this global categorization so much global to consider it excessively evident. Instead if we narrowed the instrumentation of each of the scenes according to the following plan: Iª escena: M

T&E – T&M T&E – T&M&E

2nd scene: E&T- M – E&T – M

3rd scene: – [T – M ]T – M&E – T



Dramatic content

In light of all the speculations mentioned above, the dramatic idea began to be outlined. However, we did not want the thread to be too clear, since it is true that in art excessively obvious bodies usually seduce in an ephemeral way and too often become even in bad taste. The show had to occupy a part of the concert and entailed a respectable duration, above half an hour. The final duration was 40 minutes after adjusting in the latter part of the assembly phase the durations of the second scene to the dynamics of Bokos’ staging and due to the suppression of part of the text of the third.

Three stories were chosen that put the viewer in front of the same dilemma but from three different optics and the character it became clear that it had to be feminine. At this point I want to add a short comment, written at the time in the form of self-reflection exercise in order to give an idea of what could eventually become “From inside, from outside”:

“What impression can the spectator expect from a proposal made with dramatic and musical elements? “Dedins, defora” proposes an inner dialogue, intimate and at the same time loud, that draws with blurred colors a series of feelings through the experiences of a woman, who perhaps realizes that she remains trapped and does not dare, or cannot, reveal herself.

Let’s get back maybe to the myth… It doesn’t matter, who cares about the myth now!. The man remains trapped in a web confit with technology and culture. Culture and technology…, how can the individual free himself from so much scrap, raise his gaze back towards the moon, follow the course of the stream,… How can it be that surrounded by crowds there is so much sadness. And why, deep down, do we feel even?

Freedom, yes!, but for what?. What is freedom.? What do you have to decide?. What do we expect?. Worth the wait?… Is there something else? … There’s no escape.

The eye, hand and border are the underdies of each of the three scenes. Each revolves around a possible poetics of self-denial by impotence. The individual remains castrated and resigns his role, however, who knows if…

In the first scene the observation of a trivial situation that has a cruel outcome is the element used to lead the discourse to a peak. The hand, presents a waiting situation, anywhere there are many people: an airport, a station,… While waiting, he entertains by observing and listening to cross-conversations that counterpoint and coexist in a kind of soundscape where time is stopped. Voiceovers and electroacoustic effects help to configure this section that invites the viewer to immerse themselves.

At the border is where there is more reflection of this impotence. The text is more generous in terms of description, and the dialogue becomes more directional.”

The eye, hand and border are thus the underdies that Lluïsa Cunillé proposed for each of the scenes. The background issue is obvious: the need for communication and the effects derived from it on the individual. It is not necessary to insist on its current situation, because communication is the paradox of our society of hyper-communications. But here we do not talk about networks, nor mass-media, but about that kind of communication that favors the inner realization of the person, comforts him individually while giving him legitimacy within his group or environment.

In “The Eye” a woman observes a situation that happens beyond her stay and describes her to a supposed companion with a feeling of frustration at not even knowing if it affects her how to decide to intervene, brilliant metaphor of what is usually the attitude of a viewers in front of a hard scene that identifies as external, distant and , in short, it is not worthy of being considered an altering sign of his consciousness, becoming a simple anecdote. This fragile individual-environment relationship is mediated by these virtual windows that influence it and most likely legitimize that there is so much injustice and inequality.

“The Hand” deals with the person-person relationship. A woman who most likely expects someone at an airport. As you walk through this infinite wait desperately want to establish communication with other individuals without success … , everyone speaks their own language and communication becomes impossible. In my opinion this is perhaps the scene where the theatre-music fusion is most achieved. The landscape described makes a re-placing of text and sound opening a different perceptive dimension that envelops and blurs them individually. Even stage action – evident enough in this case – is affected, remains as in a strange perspective.

Totally different is “La Frontera” where the text contains a certain minimalist aftertaste, stopping providing new elements from the fifth resumption. Then it will disintegrate to nothing. The musical part makes a kind of mirror of this “cross-fader” type structure contrasting with the disintegration of the text an instrumental texture that is progressively thickened and is articulated on an isorite in five-time amalgam compass. When the text stops providing new elements the sound texture also incorporates characteristic rhythmic modulations.


5.- Materials

I – The eye

text (excerpt
)

“There’s someone outside. A man walking a dog, I think.

It looked like they were coming here but they stopped.

The dog is almost white, of those who drag sledges in the snow.

The man looks inside the garbage container, what to look for…

He shouldn’t wear it loose, if he’s not going to be run over.

Now he’s taken something out of his pocket and thrown it away.

He wants to play, he must be very young.

It’s white and gray. He’s very cute.

…………………………… 
……………………………..

The man put his hands in his pockets, he must be cold. It must be cold out there. It will also get dark. Soon we’ll have to turn on the light. So they’re gone, we’re going to turn it on.

The chain has been removed from the coat pocket. Now he will surely tie it up and take it home… No, he grabs her from the collar and drags her… I don’t think that’s how he can be taken too far… In addition, as it will be done to cross the street… I should hold him in his arms and with what must weigh…

He sure has a little house on the lawn near the gate of the garden, next to a stone path that leads to the house. All those houses are like this, the garden in front and the house behind, with all those squabbles full of spikes on the walls so that nobody climbs on it.

…………………………….
 ……………………………
.

…. The plastic bone falls off the sidewalk and goes under a car… The man has taken the long wood… he took it with both hands and looks at it… He is showing you teeth … he has his whole mouth full foam and shows him his teeth… If he gets closer he’ll bite him. Give a wooden blow to the ground… He tries to bite him… does not reach… Scanning with string, but not reaching it… He kicks his belly again and throws it against the tree… he crashed it into the tree… He’s got his belly busted… Now grab the wood… He approaches it slowly but he does not get up … cannot be lifted… He gives a snob to his head… Another carob… Another… Another… Another… Another… Another… Another.. Another… He keeps giving it garrotades… It doesn’t stop… It doesn’t move.. He doesn’t get up… He’s dead… They have switched on the lights…”

• musical material
s

Relationships are obtained freely extracted from the title of the score “Dedins, defora”:

This material is made following Alan Forte’s Pitch-class theory:

This set of 7 sounds, in addition to its transpositions, generates a series of under-sets that are detailed below:

The sets obtained by multiplication will also be used:

However there is another derivative material that will have some relevance throughout the scene.

With the elements described, both the text and the final score are drawn up with the following formal plan agreed before
ha
nd:


This “cross-fade” type structure, in which music after an initial clinging, wrapping and integrating into the discourse – narration heavily loaded with descriptive elements – and from a certain moments progressively gives prominence to the text is not a freely adopted option. In fact, the apparent simplicity of this temporal structure was immediately revealed to us as the most appropriate in order to enhance the effect of a detwint of great dramatic hardness. Cunillé’s text makes sense of a climate point of great tension. This tension required prominence while the musical part had to play its part very carefully. I soon saw clear what the right sound image was. The electronic pedal – note that this is the first major appearance of electronic sound – in the sharp record on which the final part of the text flows “almost a solo” away from disturbing or wanting to share prominence, highlights from the suggestion the climate of unresolved inner tension to the end of the text, intensifying the dramatic effect considerably.
B
el
ow we do an analysis of the initial part of the scene until the input of the text (essay letter G):

From the input of the text the dramatic relationship music-text is the one that marks the durations of the different sections. It should be said that I divided the text into three distinct sections attending to the different dramatic accent:

section 1 (neutral, indifferent description): paragraphs 1 to 11

section 2 (character change, less distant, more emphasis on description, some distension): paragraphs 12 to 20 (from “Man caresses his head”)

section 3 (abrupt change, immediate ascent to dramatic climax): paragraphs 21 and 22 (from “It’s weird…”)

The musical part that precedes the entry of the text makes a prelude to these three expressive zon
es
:

section 1 – – – – – – aggressive section

section 2 – – – – – interludes metals and ascending dialogues

section 3 – – – – – kluster

On the other hand there are more elements that can be recognized throughout the hearing of text and music, certain recurring keys that have been taken as references:

  • glissandi of the horn and piccolo Idea to turn on the light.
  • percussive stubborn physical violence.
  • interval 10 (asc and dec) premonition of the delink

II – The hand

• text

It’s almost two quarters… The last time was a quarter and a half, wasn’t it? That is, three half-quarters. When it’s two quarters there will be half a quarter more. So I’ll have waited for four half-quarters exactly. 
  

No, I don’t have a fire. If I need it later, I’ll ask you, thank you. He’s been very kind to offer me his fire before I asked him to. 
  

Two hands meet and one asks the other, “Have you seen my right hand?” And the other hand says, “No, I haven’t seen him,” and also asks, “What about you, who saw my left hand?”. “No, I haven’t seen her.” He answers his other hand. “Well, if you see her, don’t tell her you saw me.” “All right,” I’ll do it if you don’t tell my right hand either that you’ve seen me.”

“Okay, I’m not going to tell you anything.” Then both hands shake hands and each goes their part. 
  

Do you know how you can drink without touching the glass or straw? You really want to know? Well, there’s no way. Whether with your hand or with your lips, you should always touch one thing or the other, the glass or the straw. There’s no escape. 
  

I am cancer ascending cancer. What about you? 
  

Days fly by and afternoons queers. 
  
 

I put a coin, I mark the number but communicate. I hang up, put the coin back, marco and still communicate. I hang up again, put the coin again, mark and no longer communicate but then I hang up immediately before the answering machine rings.

Twelve steps to the tobacco machine, ten to the toilet, seven to the phone, and twenty to the street.

• sound manipulation

It is the most elaborate aspect. Just as the first scene was mostly acoustically conceived, the second is articulated as a kind of soundscape, where even text, actress and stage movements are immersed in it, as elements of a whole that resists any desgranation. The common thread is carried out by the electronic part made from milling machines, voiceovers that are heard in “off” and sounds manipulated or generated with the help of the computer. The interventions are based on this main discourse.

The programs used throughout the processing and manipulation have been the following
:

Csound “Csound Homepage”

C-based sound compiler.It presents great possibilities of synthesis as well as becomes a very interesting tool to process external sounds. There are two types of files: orchestra (.orc) and score (.sco). In the orchestra all the instructions referring to the synthesis of sound are defined, can contain a single orchestra multiple instruments of great complexity. The score contains wave tables and different “notes” calls to the orchestra’s sounds.I have used several instruments but especially the following: “Phasor

Lemur Pro 4.0.1


• SMS

It is a very powerful tool that analyzes a sound and extracts two files with information insillated with respect to the deterministic part (the most harmonious part of the sound) making an estimate of the trajectories of each of the components, and the stochastic or residue part. This analysis can be refined greatly thanks to a series of control parameters that the user can accommodate to the characteristics of the sound to be analyzed. Otherwise, modifications of certain parameters can be intervened before re-synthesis. In this way you can achieve a wide range of modifications that range from obtaining a sound identical to the original to very different sounds. Includes: Time-streching, Convolution, Hibridation, Modulation and amplitude frequency modification. In all cases the tranformations act at the time of re-synthesis and the application has a friendly graphical interface that facilitates its use. A large number of envelopes allow modifications to vary over time.SMS was eded by Xavier Serra on the NeXT platform, being later taken to Windows machines, where it has received a boost thanks to the collaboration of Ramón Loureiro and is currently one of the most interesting research and development tools carried out at the Audiovisual Institute (IUA).

SVP

This program was developed at IRCAM and has been the precursor of other later projects such as AudioSculpt. Despite having worked with a beta version of the program I achieved interesting results in terms of cross-synthesis and spectrum multiples. It was also very useful to do what it gives it phase vocoder, that is, transposition in the frequency domain. The best results I got from recorded voiceovers of the actress.

• SoundHack “SoundHack Homepage”

SoundHack is an audio processing program for Macintosh designed by Tom Erbe of a long tradition and with a large number of users worldwide. One of its main merits is its ease of use. In addition, hardware requirements are minimal as it works with 68000 series Motorola microprocessors (old lenses and strength) and also works very quickly on POWERPC-type RISC microprocessors.It allows to do a wide variety of processed highlighting: cross synthesis, Time-streching, Convolution, Mutacion, Phase Vocoder, etc…

• TurboSynth SC

It is a modest but powerful application of modular synthesis (for Macintosh) in the manner of analog synthesizers. It incorporates different digital UG (unitary generators): oscillators, noise generators, dynamic and resonant filters, envelope generators, delays, harmonizers, AM, FM and phase modulators, diffusers and mixers. It also allows you to use an external sound file as a starting point and process it with the program tools. 
  
  

Reverb 5
.2 Macintosh software reberveration program.F
or editing and final assembly, the next edition and assembly were use
d:

• Sound designer
ProTools 3.0 (4 tracks)

• acoustic musical elements

Instrumental interventions are conditioned by the situation and scenic role, and especially by the tiberric color. Thus the first intervention (letter A of rehearsal) appears on the cast of a texture of sighs with gongs, tam-tam and synthesizer (sound of bells) while the metal makes a kind of church loudness that invites introspection. It has the function of interlude-commentary.

The next two acoustic interventions have more significance. They have in the viola performer their protagonist with whom the actress tries unsuccessfully to communicate with. The first with the support of bongos is a fragment virtuoso built freely with harmonic sounds. An absolutely “demodé” music, of expressive lyrism and of great effect fills the second intervention of the viola, while the horn and the piano dry it.

Of the interventions that follow will only refer to the essay letter H and the one that closes the scene. The first is built from the material of the multiplication sets. It is a fabric of rap ràpital sounds where the color predominates over the individual line of each instrument.

The last part features string harmonics and small plates, whistle-tone on the flute, a metallic sound extracted from the stretching of the “from within” voiceover and various sounds of sirènes.


III – The border

• tex
t

A woman arrives at the border and when she is about to cross it, a border guard stops her and commands her to open the suitcase she is carrying. But the woman replies that she can’t because she lost the key along the way. The border guard makes them register the woman, but no one finds her key. He then lets her know that she will have to move across the border without her suitcase or turn back. The woman without thinking will answer what will happen to the other side if he keeps her suitcase until he returns. The guard tells him that he wants to know what’s inside his suitcase. And the woman replies that she only takes her heart. Then the border guard shuts everyone up, brings the ear closer to his suitcase but feels no heartbeat. He interrogates the woman again and she explains that there is no heart locked in a suitcase beats hard enough so that it can be heard from it. The border guard then asks if he is not afraid to leave his heart there and go. And she tells him not to because as long as no one opened his suitcase there is no danger. The guard then asks what would happen if someone opened the suitcase and she replies that the air would dry the heart and stop. The border guard decides to keep her suitcase until she returns and lets her cross the border. Time passes and the woman doesn’t come back. Years pass and the border guard feels increasingly eager to open the suitcase. And one day, after many years, when he is completely sure that the woman will no longer return for that border, he makes a locksmith open his suitcase. And so the heart inside is open and stops beating.

A woman arrives at the border and when she is about to cross it, a border guard stops her and sends her to open the suitcase she is carrying. But the woman tells him she can’t because she lost the key down the road. The border guard makes them register the woman, but no one finds her key. He then lets her know that she will have to move across the border without her suitcase or turn back. The woman asks to speak alone with the border guard and then offers her all her money in exchange for letting her through. The border guard grabs the money, counts them and tells him to wait until nightfall. When night comes, suddenly the light goes to the border, and the woman passes on the other side without anyone seeing her.

A woman arrives at the border and when she is about to cross it, a border guard stops her and sends her to open the suitcase she is carrying. But the woman tells him she can’t because she lost the key down the road. The border guard makes them register the woman, but no one finds her key. He then lets her know that she will have to move across the border without her suitcase or turn back. The woman decides to go back and try to pass through another border. He buys a bigger suitcase, puts his inside, locks it, and as soon as he arrives he asks for the border guard and asks if he wants me to open his suitcase, but the guard tells him he doesn’t have to and lets it pass across the border.

A woman arrives at the border and when she is about to cross it, a border guard stops her and sends her to open the suitcase she is carrying. But the woman tells him she can’t because she lost the key down the road. The border guard makes them register the woman, but no one finds her key. He then lets her know that she will have to move across the border without her suitcase or turn back. The woman goes back and decides to wait a year and try again. The year passes and the woman decides to wait until next year. Another year passes and the woman prefers to leave for next year. It happens another year and another, until a year comes that the woman no longer thinks about it.

A woman arrives at the border and when she is about to cross it, a border guard stops her and commands her to open the suitcase she is carrying. But the woman tells him she can’t because she lost the key down the road. The border guard makes them register the woman, but no one finds her key. He then lets her know that she will have to move across the border without her suitcase or turn back.

A woman arrives at the border and when she is about to cross it, a border guard stops her and commands her to open the suitcase she is carrying. But the woman tells him she can’t because she lost the key down the road. The border guard makes them register the woman, but no one finds her key.

A woman arrives at the border and when she is about to cross it, a border guard stops her and sends her to open the suitcase she is carrying. But the woman tells him she can’t because she lost the key down the road.

A woman reaches the border and when she is about to cross it, a ‘ border guard stops her and commands her to open the suitcase she carries.

A woman arrives at the border. 
 

• musical materials

The musical part contains a growing progression that opposes the progressive disintegration of the text. Text and music never match. They alternate in antiphonal form. The increased texture is manifested in the cumulative sense of the instruments in each of the entries: greater polyphonic complexity is obtained and a different and more complex timbric resulting. The box and trumpet with deafline play a prominent role. Also the “chimes” are used recurrently on the last words of each ritornello of the text and point out the beginning of a new instrumental section. Also the duration of the different instrumental interventions is progressively more extensive.

From the moment the text stops providing new elements and initiates the reduction process, the intrumental part responds by introducing metric variations on the texture that is already fully formed. In addition, the box used by the “bordoni” so far, removes them and will play as a tom-tom until the penultimate repetetition where it will not intervene; Even in this penultimate appears the electronic sound of the synthesizer and in the last the tubular bells.

The formal scheme re-submits a different kind of “cross-fader” structure to the rondo as the following scheme sho
ws
:

6.- Cost of the project


Leaving aside the costs generated by the production and assembly of the show I will only refer here to the cost of the creation process that ends with the delivery of a finished score, electroacoustic parts, parts and all the necessary elements so that the assembly process can be incited. 
  
  
 

Temporary costsHours
Previous meetings20
Composition of the dramatic part (text)75
Composition part musical250
Computer processing150
Elaboration score (final copy)100
Paging and particella printing50
Postproduction and assembly of electroacoustic part, elaboration of materials for the concert40
Total685

685 hours * 2000 pts/hour 1.370.000 pts. 
  
  
 

Material costsamount (pts)
Consumable material20.000
Studio expenses40.000
Photocopies and binding score and particels60.000
Total120.000
Cost summaryamount (pts)
Temporary costs1.370.000
Material costs120.000
Total project cost1.490.000

Appendix 1Exeple of the Lemur interfa
ce
:

Annex 2

Distribution of percussion throughout the three esce
ne
s:

P-I (first scene):

marimba
vibràfon
címbal (severe
) arco contrabaix
protals (re, re#, mi)

P-II (second scene):

2 Gongs
3 cymbals (a-m-g)
Flexaton
protals (do#, re, re#, mi, fa, sol, la)
4 tom-tom
4 bomgos

P-III (third scene):

tubular bells (la#, si. do, do#) ch
imes metal wind f
rusta
redoubled drum (snare-drum) m
ermaid

Annex 3

Public compilation sheet of the show “Dedins, def
or
a”


Barcelona Grec/97 Summer Festival

Annex 4


Outline by the journalist Núria Alvarez on the process of creating the work. 
  
  


Published by the magazine “Amadeus” ( nº 53 June-1997)


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