STREAM OF CONSCIOUSNESS

Nadine Foley

A Thesis

Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of

MASTER OF MUSIC

May 2019

Committee:

Marilyn Shrude, Advisor

Elainie Lillios

Katherine Meizel ii

ABSTRACT

Marilyn Shrude, Advisor

Stream of Consciousness is a fifteen-minute one-act opera scored for solo soprano, three ​ voices, , , and electronics. It is based on an original libretto by Rachael Smith

(MM Composition, University of Louisville) that focuses entirely on the fictional character

Liv_Is_Live, a young woman who is a full-time video game streamer. The work showcases some of the struggles that streamers face: isolation, constant questioning of their chosen profession, and interaction with a chat room full of anonymous viewers who are often rude or abusive.

Beyond that, it addresses the more universal theme of being a woman working in a male-dominated industry. iii

ACKNOWLEDGEMENTS

For the opportunities and learning experiences that I have had while creating this piece, I would like to acknowledge the following:

Marilyn Shrude; Hillary LaBonte; Elainie Lillios; Katherine Meizel; Heather Strohschein; Sidra

Lawrence; Stephen Hennessey; Rachael Smith; Nich and Allie, who can be found on Twitch as

Nicholena and Alliestrasza.

Finally, I would like to thank women, in general, for existing. iv

STAGE SETTING AND SYNOPSIS

Stage Setting

Liv_Is_Live (Soprano) - She is seated at a desk that has a computer and on it, is in ​ casual clothing and photo-ready makeup, and is wearing . Audience (3 voices, register below that of the soprano) - They are scattered around the hall in all ​ black. Grand Piano + Ebow - In the absence of a grand piano, a keyboard capable of creating a drone ​ similar to that which the ebow would create may be used as a substitute. Electric Guitar + Ebow - 2 ebows required for performance (cannot be shared by guitar and ​ piano). Fixed Media (3 tracks) - Contact the composer at [email protected] for access to ​ ​ ​ the fixed media tracks. Video Recording - The video recording must feature the soprano of the current performance. As ​ such, the video recording will need to be created.

Synopsis

INTRO: The stage is dimly lit. During the fixed media, Liv enters in a good mood and sits at her ​ desk. She fiddles with her computer, as well as her appearance.

SCENE I “START”: Liv begins her stream and interacts with her audience. At first, their ​ interactions are normal, but over time the audience becomes increasingly aggressive and toxic, leading Liv to become increasingly flustered. At the height of their aggression, the audience moves to the physical stage and begins to circle Liv. She abruptly closes her computer and storms off.

INTERLUDE 1: Liv re-enters and begins to move slowly around the stage. Her demeanor is ​ sombre and introspective. The audience members spread out and stand in place at the back of the stage.

SCENE II “STOP”: Liv is off-stream contemplating her position online as well as in life. ​

INTERLUDE 2: Liv re-opens her computer and loads the video of her earlier stream. ​

SCENE III “VOD”: Liv is rewatching the earlier stream while continuing her previous ​ contemplation. The audience members leave the stage one at a time. Her viewpoint gradually begins to shift. v

PERFORMANCE NOTES

Audience voices can exist in any register below that of the soprano, and the part can be transposed at the octave accordingly.

Video projection equipment is required for the video recording used in SCENE III. During the rehearsal process, record the soprano at a computer desk from a webcam on a solid backdrop. She should look like she is streaming. All recorded parts are directly taken from SCENE I. The soprano should listen to a metronome over headphones; record each section individually. Place the three recordings together in a single video which will then be played and paused accordingly during the performance of SCENE III. The live soprano and video should always start together, but are allowed to drift apart throughout a section of dialogue.

no meter; freely within context of given tempo

ebow continues to sound for duration of thick line n niente (nothing)

sustain given pitch or continue figuration for duration indicated

naturally spoken text (never sung)

Ebow [L]/[R] indicates the setting of the ebow switch, left or right, when looking directly at the switch

(sim.) continue the previous action

with the key cover (fallboard) and pedal down, rapidly tap fingers on the key cover rapidly as if typing on a computer keyboard vi

repeat material for duration of wavy line

as fast as possible; like grace notes

begin or end at point indicated

keep ebow in place and strike the body of the guitar; a demonstration can be found here ​

keep ebow in place; touch and then release the indicated harmonic; a demonstration can be found here ​

cover all strings of the guitar and pluck indeterminately; a demonstration can be found here; a variation on this ​ ​ technique involving glissandi happens at measure 42, with a demonstration found here ​

move the ebow between its normal position and a position over the pickup closer to the neck of the instrument in the rhythm indicated; a demonstration can be found here ​ vii

cover all strings as before, then pluck individual notes; a demonstration can be found here ​

keep pedal depressed until otherwise indicated

(ped.) pedal remains depressed

Approximate duration is ca. 15 minutes.

n mf 2

SCENE 1 - "START": Liv is seated at her computer, alone in her home. She begins a livestream and immediately starts to communicate with her viewers.

q = 72 - 92 30" lively (spoken) 2" f (gliss) j w j Soprano & X Ó Œ ‰ œ @ œ? œ œ ‰ Œ œ œ œ œ œ œ œ œ œ Œ w @ œ? hel - lo Twitch friends long time no see I've had a lot of things to get done life

lifeless, monotone, and robotic throughout mp ° X ™ œ œ œ œ œ œ œ ™ & í™ rapidly repeat random greeting phrases ™î (hey, hi, yo, how's it going, etc) mp lifeless, monotone, and robotic throughout Voices X í™ œ œ œ œ œ œ œ ™î & ™ rapidly repeat random greeting phrases ™ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ (hey, hi, yo, how's it going, etc) mp lifeless, monotone, and robotic throughout & X í™ œ œ œ œ œ œ œ ™î ™ rapidly repeat random greeting phrases ™ ¢ (hey, hi, yo, how's it going, etc)

#œ typing on key cover with fingertips œ key cover down (silently) & X Œ Ó í™ ™î Piano f mf ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ? X í™ ™î ° (sim.) ebow [L] 3" 12" 4" 8" 3" { to [R] Electric Guitar & X w w w w w w rearticulate with ebow as needed mf p p ff ff p

4 1" 2" 3"

Sop. j œ œ œ œ j & œ œ œ œ œ œ œ œ œ Œ œ ‰ Œ is hectic right now but I know this might help to make some - one's day so I thought I'd live - stream some games for you all and chat

gradually slow down and add space p °&

gradually slow down and add space p STOP f Vox. & ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ Œ ‰ œ œ œ œ œ œ why did you start stream-ing gradually slow down and add space p & ¢ inside gradually slow down and add space #¿ STOP key cover up œ key cover down (silently) Œ Œ & mp Pno. ff ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ? (Ped.) (Ped.)

E.G. {& @w? 3 passionate, bordering on cheesy 6 f mf 1" f mf 2" passionate still but more subdued, not cheesy mp 2" mf mp 4" ˙ ˙ ˙ ˙ ˙ ˙ ˙ Sop. & œ œ ‰ œ œ Œ œ œ I've al - - - - ways loved gaming I've al - ways loved this community I've al - ways loved sharing the thing I love with the rest of the world p f mp °& Œ œ œ œ œ 활 œ œ œ œ œ œ ™î why why why why why why why why why why why mp

Vox. & Œ Œ 활 œ œ œ œ œ œ ™î¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ why why why why why why why p f mp & œ œ œ œ œ œ œ œ 활 œ œ œ œ œ œ ™î ¢ why why why why why why why why why why why why why why why

typing key cover up #œ key cover down (silently) œ #œ & í™ ™î ≈ Œ Pno. mf ff ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ? í™ ™î { ° E.G. & @w?

(to self) calm, reassuredly mf f 9 p mp inhale sigh 7" 2" Sop. ∑ Œ Œ Œ œ œ œ œ œ œ Ó & ¿ ¿ it's everyone's dream to do what makes us happy leav - ing be - hind the expectation of a mp mf °& Œ ‰ œ œ œ œ ‰ what do you do mf p mp Vox. & œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ Ó Ó Œ œ œ œ œ Œ what do you do be - sides gam- ing like as a real job as a real job mf f & Œ Œ œ œ œ œ ¢ be - sides gam- ing

key cover up #¿ key cover down (silently) œ œ œ & Ó Ó Œ Œ Pno. mf p mf f ? Ó Ó { ° ° E.G. & @w? p cresc. with a hint of mild frustration to self (to self) to audience (to audience) 4 resolute, passionate with less certainty more frustrated frustrated 12 f ff 7" mf f ff 4" 3" 2" 1" ˙ Sop. #œ œ œ Œ Ó Ó Ó Ó ∑ & œ œ œ œ œ œ œ nœ œ œ nœ real job this job is real and this happiness is real enough for me I'm liv - ing and leav - ing things be - hind I love this and it's enough for me it's enough for me it's enough enough!

mf mp ff °& í™ œ œ œ œ ™î Ó Ó as a real job YunpitchedY whispers p ff mp ff Vox. & í™ œ œ œ œ ™î¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ Ó Ó what do you do YunpitchedY whispers mp ff & í™ œ œ œ œ ™î Ó Ó ¢ be - sides gam-ing YunpitchedY whispers

p ff key cover up #œœ key cover down #œœ & í™ ™î Ó Ó Œ Ó Pno. mf ff ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ? í™ ™î °

{ ord pont. ord. E.G. & @ ˙? (cresc.) f

surprised 16 f 2" 3" 5" œ œ Sop. & œ Ó œ Œ œ œ that's not that's not what I do but I'm not here to judge them ff pp ff °& bœ œ œ œ œ œ œ œ í™ œ œ œ œ œ œ œ ™î í™ œ œ œ œ œ ™î you mean from be - ing a cam girl unpitched whispers we're here to judge you mf pp ff Vox. & œ œ œ œ œ œ ‰ œ œ ‰ œ œ œ œ œ œ œ œ Œ í™ œ œ œ œ œ œ œ ™î¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ í™ œ œ œ œ œ ™î¯¯¯¯¯¯¯¯ do you get bad com-ments you know from be - ing a fe - male stream-er unpitched whispers we're here to judge you ff pp ff & #œ œ œ œ œ œ œ œ í™ œ œ œ œ œ œ œ ™î í™ œ œ œ œ œ ™î ¢ you mean from be - ing a cam girl unpitched whispers we're here to judge you

& í™ ™î Pno. mf ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ? í™ ™î { ° (sim.) E.G. & @w? 5 completely flustered 19 f 4" mf 4" #œ j nœ œ Sop. & œ œ œ œ #œ œ œ œ œ œ œ œ œ Œ bœ œ œ œ Œ ‰ I'm just as val-id as eve-ry-one else on this plat-form plat-form and ped-es-tal how someone acts from their position is not my place to judge I just have this community

mp mf cresc. tense, noisy fff °& bœ œ œ œ œ œ œ œ œ œ w ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯c¯o¯n¯t¯in¯u¯e¯ p¯r¯e¯vi¯o¯u¯s ¯fi¯g¯u¯re¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ you don't ev - en give an-y-thing a-way ah tense, noisy mf pp cresc. fff Vox. #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ w don't these peo-ple have bet-ter things to do than watch you play games ah

mp mf cresc. tense, noisy fff & #œ œ œ œ œ œ œ œ œ w ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯c¯o¯n¯t¯in¯u¯e¯ p¯r¯e¯vi¯o¯u¯s ¯fi¯g¯u¯re¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¢ you take ad-vant-age of these peo-ple ah

stop, key cover up & Pno. ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ? { (Ped.) (Ped.) E.G. & @w?

a whimper 22 p œ Sop. & Ó J ‰ Œ I immediate voice exchanges mf ff f f °& bœ œ œ œ bœ œ Œ bœ œ œ œ œ œ œ ‰ bœ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ Œ bœ œ œ œ œ œ œ Œ do you like the cam whore to take ad van-tage of us should-n't be al-lowed wom-en should-n't be al-lowed on these stream-ing sites you should-n't be al-lowed here (immediate voice exchanges continue) f mf ff f Vox. & œ œ œ Œ œ œ œ œ œ œ œ œ œ œ œ œ Œ ‰ œ œ œ œ œ œ œ ‰ Œ œ œ œ œ œ œ œ Œ at-ten-tion wom-en should-n't be al-lowed on these stream-ing sites to take ad van-tage of us you should-n't be al-lowed here

f j & #œ #œ œ œ œ œ œ œ œ œ œ œ œ Œ #œ œ œ œ œ œ œ Œ ¢ you wom-en should-n't be al-lowed on these stream-ing sites you should-n't be al-lowed here

œ & #>œ Œ Ó Pno. f ff ? Ó Œ #œœ #œœ #œœ #œœ n bœœ n bœœ > > # >œ # >œ n >œ n >œ { “‘ w» w» w» w» w» w» E.G. & ⁄ ⁄ ⁄ ⁄ ⁄ ⁄ @w? ff

» = with ebow still in place, strike body of guitar ⁄ 6

28 Sop. &

°& bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ bœ œ œ œ œ œ Œ Œ œ œ œ œ œ you're fake and are de-stroy-ing this com-mu - ni - ty wom-en aren't good at this leave us a - lone wom-en aren't good at this and are de-stroy-ing

Vox. & #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ Œ œ œ œ œ œ Œ œ œ œ œ œ Œ wom-en aren't ca - pa - ble find a real job and leave us a - lone you aren't good at this this com-mu - ni - ty

& #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ Œ #œ œ œ œ œ Œ ¢ wom-en aren't com-pet - i - tive find a real job and leave us a - lone you aren't good at this

& Pno. ? #nœœ nbœœ œœ œœ > >œ >œ >œ { “‘ »w »w »w »w E.G. & @w? ⁄ ⁄ ⁄ ⁄

30 Sop. &

œ ° bœ œ ‰ ‰™ œ œ ‰ Ó bœ ‰ ‰™ œ ‰ Œ bœ œ œ œ œ ‰ & J J œ #œ œ wom - en wom - en you you find a real job and leave us a - lone

j j j j Vox. & ‰ œ ‰™ ‰ œ Ó ‰ œ ‰ œ Œ œ œ œ œ œ œ œ œ œ ‰ aren't aren't aren't aren't find a real job and leave us a - lone

& Œ #œ œ œ Œ œ œ œ œ Œ Œ #œ œ œ Œ œ œ œ œ Œ ≈ bœ œ #œ œ ‰ ¢ ca - pa - ble com - pet - i - tive ca - pa - ble com - pet - i - tive leave us a - lone

& Pno. ff ? œœ #>œ “‘ { 10" »w »w »w »w »w »w »w »w »w »w »w »w »w »w »w »w »w »w E.G. U & ⁄ ⁄ ⁄ ⁄ ⁄ ⁄ ⁄ ⁄ ⁄ ⁄ ⁄ ⁄ ⁄ ⁄ ⁄ ⁄ ⁄ ⁄ @w? w w ppp attacca 7

INTERLUDE 1: Liv ends the stream in a panic. She begins to pace around the room. 22"

° î î Fixed Media î î î î 10" Electric Guitar & X w w ¢ ppp n cresc. mf attacca 8

SCENE II - "STOP": After ending the stream, Liv is now completely alone with her own thoughts and contemplates her career. emotional passionate and introspective q = 64 p 3 f Soprano 4 & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ bœ œ œ ‰ Ó ∑ ∑ ∑ Ó Œ œ look in-side I

4 œ œ œ œ œ œ œ bw w œ œ œ œ œ œ œ & 4 ∑ ∑ ∑ Ó bœ œ Ó bœ œ Œ bœ œ bœ œ œ b w w Ó bœ œ Ó bœ œ Œ bœ œ bœ œ œ Piano p mf pp sub. mf p sub. f ? 4 ∑ ∑ ∑ Ó Ó Ó Œ Œ Ó Ó ˙ Œ ˙ Œ 4 ˙ ˙ œ ˙ bœ w w ˙ ˙ ˙ œ ˙ bœ ° ° { q = 64 quick touch and release o ebow [R] [L] œ– Electric Guitar 4 & 4 w w w œ Œ ˙ w w w w w w w w w (— m f ) p n p n p

14 f 3 Sop. w œ œ œ œ & w œ œ œ œ œ bœ Œ Ó Œ œ bœ œ ‰ Ó ‰ J œ œ bœ œ œ o - - - pen my - self to you tear me down I don't know what else

œ œ œ œ œ œ œ bw œ œ & Ó Œ bœ Ó bœ œ Œ bœ œ bœ œ œ b w Ó bœ œ Ó bœ œ Pno. mf f mf ? Ó Ó Ó Œ Œ Ó Ó ˙ ˙ œ ˙ bœ w ˙ ˙ ° °

{ quick touch and release œo– E.G. & w w w w w w w n p 9

21 mf mf mp p mf mp p mf 3 3 3 3 Sop. Ó Œ bœ œ œ ‰ Ó Œ nœ ˙ ∑ ∑ Ó Œ bœ ˙ bœ œ ˙ Œ bœ œ œ ‰ Œ œ œ œ & œ œ œ œ ˙ œ œ œ œ œ œ you could what you could do I gave you all I had pri - va - cy i - den - ti - ty you

œ œ œ œ œ œ bw w œ œ nœ œ bw w & Œ bœ œ bœ œ œ ∑ ∑ Ó Œ nœœ b w w Œ bœ œ œ œ œ b w w Pno. ff p mf j ? ˙ Œ œ ˙ Œ bœ ∑ Ó Œ bbœ w w œ œ ‰ bœ w w œ œ w œ w w œ œ œ œ œ w w ø cover strings with fist; ° ø ° inarticulate blur. { c. XXIV w w w ˙– · [L] ord -tasto ord ord - tasto-ord-tasto-ord turn off ebow and set down w w w ˙ replace ebow 3 3 E.G. j  — & w w œ ‰ Œ Ó æ æ æ æ Ó ∑ ˙™ œ œ œ œ œ œ œ œ œ ˙ p mp f pp n

31 f mp Sop. œ œ & œ œ œ bœ œ œ œ Œ ‰ J œ bœ œ ∑ ∑ bœ œ œ œ œ nœ bœ œ ˙ n˙ meant so much to me you were so much to me

Œ bœ œ Œ œ œ ‰ bœ œ œ œ œ œ œ bbw w ∑ ∑ & J Pno. mf f pp j j ? œ ‰ œ œ œ ‰ bœ w w ∑ œ œ œ œ œ œ œ œ w w w ø ° { quick touch and release œo– E.G. & w w w w w w n p n 10 mf f 37 mp mf 5 5 œ œ Sop. ∑ ‰ œ œ ‰ ‰ bœ bœ œ ‰ j Œ œ œ ‰ ‰ & bœ œ J J J œ œ bœ œ J J œI should-nœ't have tœo prove my - self to you I shoœuld have tœo hold my - self > bbœœ & Ó Œ J ‰ ∑ ∑ ∑ Pno. f sub. ? œ j œ j œ œ ‰ bbœ Œ œ bœ ‰ Ó ‰ œ bœ Ó Œ bœ b˙ >œ bbœœ bœ J bœ œ >œ ° (sim.) cover strings with fist; { inarticulate blur. c. XXIV ·œ w w w remove ebow Âœ w w w E.G. Ó Œ æ æ æ æ & (vary dynamics ad. lib) fff - mf - fff

mf f ff 41 bœ œ œ œ 3 b˙ œ bœ f p Sop. œ œ j & ‰ J J ‰ œ bœ œ œ bœ ˙ Œ œ œ œ œ ‰ Œ Ó ∑ ∑ œ b˙ bœ œ n˙ œ tall - er should I have start - ed this the rise and fall the rise and the fall

˙ bœ œ ˙ bœ œ & ∑ ∑ ∑ ∑ ∑ ∑ ∑ Pno. ff f ppp b˙ ˙ ? œ Œ Œ œ œœ Œ b ˙ ˙ Ó ∑ Œ ∑ ∑ ∑ œ œ œ bœ b˙ ˙ œ b˙ ˙ ˙ (Ped.œ) œ bœ “‘ (Ped.)

{ c. XXIV glis c. XIX w œ s. ˙ œ gliss. c. XV œ ˙ œ w œ gliss. ˙ œ gliss. replace ebow [L] E.G. œ ˙ œ & æ æ æ æ æ æ ∑ Ó ˙ w w w f æ æ ff næ n p more frantic 11 50 mf ff mp œ Sop. ∑ ∑ ∑ Ó ‰ j ‰ j bœ œ Œ ‰ j bœ Œ œ œ ˙ Œ & œ œ œ ˙ œ œ ˙ œ œ œ œ œ I gave you all I had a love for this a love for you all I

“” œ œ œ œ w w œ œ œ œ œ œ œ œ ˙™ œ & Œ bœ bœ œ ˙ bœ œ ˙ bœ œ Œ bœ bœ œ œ p Pno. pp ff ? œ œ œ ∑ ∑ ∑ ∑ ∑ ∑ Œ Œ Ó & œ bœ œ b˙™ œ ° ø ° ø { quick touch and release œo– E.G. & w w w w w w w w w n p

f ff desolate 59 mf œ ˙ œ 3 Sop. ˙ œ œ œ œ œ œ œ & œ œ bœ œ Œ ˙™ ∑ ∑ Œ ‰ Œ bœ bw œ bœ œ œ œ œ love this place I've made some-where far be -yond the ground look in-side I o - - pen my - self to

:“; œ œ œ bw bw & bœ œ œ b w b w ∑ ∑ ∑ ∑ ∑ ∑ Pno. f w ? & ∑ w ∑ ∑ ∑ ∑ ∑ œ ˙™ cover string as before (same type of sound, but short) c. XXII { c. XXIV c. XXII c. XX [L] œ œ œ œ o remove ebow ‰ œ– E.G. & w œ Œ Œ Ó Œ J ‰ Œ J ‰ ∑ ‰ J J ‰ Ó œ œ w w w œ mf f n mf n f 12 68 p 3 Sop. j & bw œ Œ Ó Œ œ œ œ ‰ Ó ‰ œ œ œ œ œ Œ Œ œ œ œ œ œ œ œ ˙ you tear me down I don't know what else you could

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ Pno. ? ∑ ∑ ∑ ∑ ∑ ∑ ∑

c. XXIV { c. XX c. XIX c. XXII c. XXII c. XX c. XX c. XV œ œ œ œ œ œ œ œ E.G. & Œ J ‰ J ‰ J ‰ ∑ Ó Œ J ‰ Œ ‰ ‰ J ‰ Œ ‰ ‰ J ‰ Ó Œ J ‰ Ó J ‰ Œ Ó p

75 pp 3 n Sop. & ∑ Œ œ œ œ ‰ Ó Œ œ ˙ œ Œ Ó ∑ ∑ what you could do

& ∑ ∑ ∑ ∑ ∑ ∑ Pno. ? ∑ ∑ ∑ ∑ ∑ ∑

{ c. XX c.XIX œ œ c.XV œ replace ebow [R] E.G. & Œ J ‰ J ‰ J ‰ ∑ Ó ˙ w w w n mp f fff 13

INTERLUDE 2: Liv restarts her computer. She begins to watch her earlier stream. 22"

° î î Fixed Media î î î

7" î

Electric Guitar w &X w ¢ fff p attacca 14 SCENE III - "VOD": Liv continues her contemplation

VIDEO ON 6" VIDEO PLAY q = 72 VIDEO PAUSE Video ° 4 & X Œ œ œ œ œ nœ œ #œ ˙ œ Ó 4 it's everyone's dream to do what makes us happy leav - ing be - hind the expectation of a real job

frantically contemplative mf f mp 2" 3" Soprano ˙ 4 & X Œ œ œ œ #œ œ #œ œ œ œ œ œ 4 ¢ leaving behind the ex - pec - ta - tion that this could be easy and eas - y to love

œ #œ #œ œ œ œ œ œ œ œ 4 & X Œ Ó œ œ 4 Piano ff ff ˙ ˙ 4 ? X Ó Œ Œ 4

ebow [R] { 6" Electric Guitar w w w 4 & X 4 p ff pp

8 q = 64 ° 4 & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢& 4

#œ œ œ #œ œ œ œ œ œ #œ œ œ œ œ #œ ˙ #˙ œ #˙ œ #œ œ œ #œ œ œ œ #œ ˙ w 4 œ œ œ œ œ œ nœ œ œ œ #œ œ #œ œ ˙ œ œ œ œ œ œ œ œ œ ˙ w & 4 œ œ œ ˙ œ œ œ œ œ ˙ w p pp mf ˙ œ ˙ ˙ œ ? 4 ˙ œ ˙ #œ ˙ ˙ œ ˙ #œ 4 Ó Ó Œ ˙ Œ œ w Ó Ó Ó Œ ˙ Œ œ w w { ° ° 4 @w? & 4 15 18 VIDEO PLAY ° & ∑ ∑ ∑ ∑ X Ó this job is real and this happiness is real enough for me

∑ ∑ ∑ ∑ X ¢&

#˙ œ #˙ œ #œ œ #œ œ œ œ œ œ œ œ œ ˙ & œ œ œ œ X #˙ ˙ Ó pp ˙ ? ˙ œ #œ X Ó Ó Ó Œ ˙ Œ œ w ˙ Ó { ° @w? & X f

q = 72 24 ˙ ° Œ Ó Ó Œ & œ œ œ œ œ œ œ œ œ œ œ I'm liv - ing and leav - ing things be - hind I love this and it's enough for me

mf f mp f œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ & Œ #œ Ó Ó Œ œ ‰ J #œ #˙ ˙ w ¢ I'm liv - ing and leav - ing things be - hind I love this and it's e - nough for me

& p ? #w #w ˙ ˙ ˙ ˙ ˙ #˙ ˙ ˙ ˙ #˙ ˙ ˙ { ° (no ped.) @w? & 16 32 VIDEO PAUSE ° & Ó it's enough for me it's enough

increasingly confident with each repetition mp f sub. p boldly 3" 2" 1" f ff mf 8" 7" Ó Ó œ œ œ œ œ œ œ œ œ Œ œ œ œ ˙ ˙ Œ œ Ó Œ & #œ #œ #œ #œ #œ #œ #œ œ ˙ w ¢ it's enough for me it's enough enough lov-ing and leav-ing be-hind this pain you've caused lov-ing and leav-ing be - hind leav-ing this be - hind it's not perfect it never will be I'm not perfect I never will be but

& ppp mf to ebow [R] ? w w #w w { ° (sim.) @w? &

39 VIDEO PLAY VIDEO OFF stage to black ° & this job is real and this happiness is real enough for me with total clarity ff ff 3" mf f U ˙ ˙ œ Œ œ œ œ Œ Ó ∑ Œ Ó Ó ∑ ∑ & ˙ œ œ œ ˙ ˙ w œ œ œ œ œ œ œ œ œ œ œ œ œ ¢ this job is real and this hap - pi-ness is real e - nough this is real enough this is real e-nough this is real e-nough this is real

& release, let ring ? j U @w? œ ∑ (Ped.)

{ release, let ring @w? œ U & J ∑ fff