Copyright Steven Errol Paxton 1981 MUSIC FOR WINGS
by
STEVEN ERROL PAXTON, B.M., M.M.
A DISSERTATION
IN
FINE ARTS
Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of
DOCTOR OF PHILOSOPHY
Approved
Accepted
May, 1981 /l^- /,,•-"
/ C^c:) A'-''• ^ /
ACKNOWLEDGMENTS
I am deeply indebted to the cast and production staff of Wings, and especially to Professor Ronald Schulz, Director, Tom Colwin,
Scene and Lighting Designer, and Freda Williams, actress.
11 TABLE OF CONTENTS
ACKNOWLEDGMENTS 11
LIST OF ILLUSTRATIONS iv
PART ONE I. HISTORY OF THE PROJECT 2
II. MUSIC AND SOUND DESIGN 8 III. SYSTEMS DESIGN 14
Recording the Sound on Tape 14 Reproducing the Sound in the Theatre 21 IV. CONCERT PERFORMANCE OPTIONS 26
PART TWO
MUSIC FOR WINGS
I. AWAKENING 30
II. WAITING 36
III. A- PARK BENCH 48
IV. THE DEATH THING 54
V. A PARK BENCH IN WINTER 5 7
BIBLIOGRAPHY 72
APPENDIX 73 A. LOCATION OF TAPE RECORDINGS OF WINGS 74
B. SOUND CUES FOR SOUND-TRACK VERSION OF WINGS 75
C. PROGRAMS OF PERFORMANCES OF WINGS 80 • • • 111 LIST OF ILLUSTRA.TIONS
Figure
1. Processing-Recording Procedure 17
2. Use of ARP 2600 as a Sound Processor 19
3. Labeling of Speaker Connections 22
4. Six-Channel System 24
IV PART ONE CHAPTER I
HISTORY OF THE PROJECT
On November 21, 1980, the Texas Tech University Theatre's production of Arthur Kopit's Wings opened in the University Theatre.
This opening had been preceded by months of research, planning, and rehearsal on the part of the production staff and the actors. The preliminary designing stages were especially important since this was to be a production which thoroughly integrated light, set, and sound design.
The play's subject matter itself had evoked a unified, far- reaching design concept: Emily Stilson, a cardiovascular stroke victim, courageously tries to reassemble her splintered world, drifting between realms of distant memories, surrealistic confusion, mental instability, reality, and dreams. The design elements of the play would necessarily parallel her perception of those worlds.
In the staging directions throughout the script, Kopit describes this integration of design, or at least alludes to the desirability of such a concept:
Cacophony of sounds heard from all around, both live and from the speakers. Images suggesting sensation of assault as well. Implication of all these sounds and images is that Mrs. Stilson is being moved through the hospital for purposes of examination, perhaps even torture. The information we receive comes in too fast and distorted for rational comprehension. The realm she is in is terrifying . . . The sense should be con veyed that her world moves around her more than she through it.^
At various points in the text of the play itself, Kopit gives further evidence of the desirability of a unified design concept for the play. The following excerpt, one of Mrs. Stilson's many lengthy monologues, is an example:
MRS. STILSON: Dark . . . space vast of . . . in I am or so it seems feels no real clues to speak of. Some thing tells me I am not alone. Once! Lost it. No here back thanks work fast now, yes empty vast reach of space desert I think they call it I'll come back to that anyhow down I . . . something what (BRIEF IMAGE OF A NURSE) It's SOMETHING ELSE IS ENTERING MY!—no wait got it crashing OH MY GOD! CRASHING! deadstick dead-of-night, thought the stars were airport lights upside down was I what a way to land glad no one there to see it, anyhow tubbish blaxed and vinkled I com- menshed to uh-oh where's it gone to somewhere flub- bished what? with (BRIEF IMAGES OF HOSPITAL STAFF ON THE MOVE) images are SOMETHING ODD IS! . . . yes, then there I thank you crawling sands and knees still can feel it hear the wind all alone somehow wasn't scared why a mystery, vast dark track of space, we've all got to die that I know, anyhow then day came light came with it so with this you'd think you'd hope just hold on they will find me I am . . . still intact.
PAUSE
In here
LONG SILENCE
Seem to be the word removed.
LONG SILENCE
How long have I been here? . . . And wrapped in dark.
PAUSE
•'"Arthur L. Kopit, Wings: a play (New York: Hill and Wang, 1978), pp. 28-29. Can remember nothing.
OUTSIDE SOUNDS BEGIN TO IMPINGE: SAME FOR IMAGES. IN THE DISTANCE, AN ATTENDANT DIMLY SEEN PUSHING A FLOOR POLISHER, ITS NOISE RESEMBLES AN ANIMAL'S GROWL.^
Thus, the role that stage design was to play in the production had been mandated by the playwright's staging instructions and by the play itself. Further, the role of music and sound as a major part of that stage design had been mandated by the same factors: the author's staging instructions—
The following blocks of sound, which accompany her expedition, are meant to blend and overlap in perfor mance . . . The sounds themselves may be live or pre recorded; those which are pre-recorded should emanate from all parts of the theater and in no predictable pattern-^— and the dialogue of the characters—
MRS STILSON: What it was . . . how I heard it how I said it not the same, you would think so but it's not. Sometimes . . . well it just goes in so fast, in-and- out all the sounds. I know they mean . . . .
In light of this evidence, and since Mrs. Stilson's post-stroke debilitation (aphasia) is most noticeably reflected in the way she hears her own speech and in the way she hears the external world—that is, in the way she relates sound to meaning—the production element of sound design had surfaced as that element most capable of conveying to the audience the constant flux of Mrs. Stilson's world, and possibly of emphasizing for the audience her changing situations within that
2 Ibid., pp. 23-24.
Ibid., p. 56. 4 Ibid., p. 64. world. In this respect, the sound heard during the play would tran scend the concept of design and would take on an actor's role, joining
Mrs. Stilson in a dialogue of situations and reactions to situations.
The evolution of this expanded concept of sound design was a challenge to the composer of the score, as well as to the other pro duction personnel. The challenge was one of flexibility. The techni cal personnel would have to create a fluidly changeable environment, and the actors would have to react to and interact with the uncertainty and fluidity of the aphasic mind. The desired end would be the simula tion of Mrs. Stilson's world and some degree of audience entry into that world.
During the initial run of Wings at The University Theatre, audience reactions and critical reviews bore witness to the success of the integrated design concept and of the expanded significance given to the sound design:
Complementing Williams' superb performance as Mrs. Stilson is the music-sound collage composed by Steve Paxton. The grinding catastrophe of her stroke, the strange, distorted voices in her mind, the bizarre dis orientation of space—all are captured in Paxton's composition.-'
The electronic music and sound effects created by Steve Paxton serve well as a guide through the laby rinth which is the character's mind, and Tom Colwin's use of lighting is brilliant. Schulz and Colwin more than once use lighting to make their statements, to offer the punctuation necessary to drive a point home.
^John Hardwick, Texas Tech University Daily, November 24, 1980, p. 5.
"William Kerns, Lubbock (Texas) Avalanche-Journal, November 24, 1980, sec. A, p. 12. On the other hand, the unusually extensive use of sound in a
theatrical presentation created difficulties for some spectators.
There were those who found vexing the volume levels and the presence
of sound coming from all parts of the theatre; what was powerful and
engaging to some was untheatrical and distracting to others. These
few negative reactions suggested areas of concern for future efforts
toward an expanded concept of sound design in the theatre.
On December 3, 1980, the production was mounted at Angelo State
University in San Angelo, Texas, as Texas Tech's entry in the American
College Theatre Festival. The integrated design elements of the play
were again favorably received:
Pre-recorded electronic music and assorted sound effects also were used effectively to reproduce the confusion and fear felt by Mrs. Stilson as she sought to understand and deal with her debilitation. The audience experienced her stroke from the inside, hearing the same noises and gibberish, seeing the dark, feeling the isolation.7
Problematic areas were also noted by the festival judges:
The one fault on the sound for me was that it drew attention to itself sometimes .... The sound . . . was so directional (which fit with some things . . . ) that I'd almost want to turn and look at sound here rather than at ... I wanted it up there. It annoyed me being back here.°
The festival judges nominated Wings for competition in the regional American College Theatre Festival and awarded the composer/ sound designer the Amoco Award for Excellence in Sound Design.
Renee Kientz, San Angelo (Texas) Standard, December 4, 1980, sec. D, p. 3. Q Jim Morley, taped critique held at the area American College Theatre Festival, San Angelo, Texas, December 4, 1980. On January 18, 1981, Wings was given its final performance at
Scott Theatre in Ft. Worth, Texas, as a part of that festival. Tliough audience reaction here was again extremely positive, a review in the
Ft. Worth Star-Telegram was representative of the partially negative
reactions already mentioned:
Schulz has staged it well and sometimes enhanced it with the use of electronic sounds denoting the mind limbo of Miss Williams. At other times, though, the electronic cacaphony [sic] irritatingly overrides dialogue on the stage.^
Throughout the course of the project the composer attempted
to design a body of music which could serve as the basis for a
dramatic sound score and which could also be presented in a concert
situation. This body of music took the form of the five-movement
suite. Music for Wings, which appears in the second part of this
volume. The sound score for the complete production of the play, a
score which is centered on the five-movement suite but which also
includes many unscored natural sounds and sound collages, exists
on magnetic tape recordings which are indexed in Appendix A.
9 Elston Brooks, Ft. Worth (Texas) Star-Telegram, January 19, 1981, sec. E, p. 10. CHAPTER II
MUSIC AND SOUND DESIGN
Music for the stage, within the context of the contemporary legitimate theatre, is often confined to the concept of incidental music: music to accompany the entrance and exit of an audience and to fill the awkward time spans created by scene changes. However, when music or sound is considered as a major design element in the same way that sets and lights are considered design elements, a more lively theatrical experience evolves. The composer is challenged to expand his concept of music for the stage, and all production per sonnel are challenged to expand their ideas concerning theatrical design in general. The result is a sound design that ranges from sound effects to absolute music and includes all of the possible shadings and combinations between the most obvious and the most subtle. The design also considers the acoustic and electro-acoustic potentials of sound and sound reproduction. The composition of music and sound for Wings was based on such an expanded concept of sound design.
Not all plays require elaborate sound scores. Some need none, and some are served well by traditional incidental music. As Chapter I explains. Wings demanded more thorough treatment, especially in the realm of what are normally called sound effects. In considering the
8 project, the composer would not, however, have been satisfied with the limitations of recording, editing, and reproducing sound effects.
Further, a play which explores such a wide range of imagery as Wings would suffer from a score which only reproduced the natural sounds associated with Mrs. Stilson's stroke and recovery. Consequently, the decision was made to use natural sounds (sound effects) to accompany
Mrs. Stilson's observations of the real world (these were often suggested by the author in the script), and to use music, free of sound effects, to accompany her excursions into the several types of illusory worlds: memories, dreams, and various states of confusion. The most extreme contrasts between pure sound effects and music were often obscured or softened by distortion, superimposition, and combination in order to parallel Mrs. Stilson's unpredictable and fluid movement between real and illusory states of consciousness.
The first section of the sound score, extending from the Prelude, through the Catastrophe, and into the Awakening, is an example of this flow between natural sounds and music. As the lights come up on Mrs.
Stilson, a clock is heard ticking. At the moment of her stroke, and for six frantic minutes following, many other natural sounds are heard: wind, screams, people's voices, automobile engines racing, sirens, heavy breathing, opening and closing of automatic doors, elevator bells, and various hospital sounds. This montage of sound, though still with in the realm of sounds normally called sound effects, is not presented as directly as the initial ticking of the clock. The sounds are now distorted through electronic processing and tape editing. They are superimposed upon one another and sometimes are barely discernible as 10 natural sounds. They are, in a sense, less concrete than the pre- stroke ticking of the clock, but still concrete enough to represent
Mrs. Stilson in passage from one world to another.
The single sound chosen by the composer as a transition between
the real world of the medical emergency (the Catastrophe) and the illusory, confusing world of the Awakening is the sound of the elevator bell. It is initially heard amidst an array of hospital sounds, but becomes more noticeable as the other sound effects fade. Its single- pitched, widely spaced repetitions are gradually complemented by bells at other pitches. Eventually, a three-minute passage of music for hand bells and clarinet evolves as Mrs. Stilson awakens in a world which she cannot assimilate. Natural sounds from her surroundings are occasion ally heard within the texture of the handbell music—a nurse paging a doctor, equipment being rolled down a corridor—but the handbells and the clarinet create the new sound environment.
As the scene ends, the playwright's suggestion of birds singing through a raised window is observed. The bells slowly fade, ending this section of the play as it had begun, with simple, direct, realis tic sound effects. The sound design for additional sections of the play was based on this same arch-form.
This gentle shifting and dove-tailing of natural sounds and music was attempted throughout the play, even when not done within the frame work of the arch-form. In fact, the interplay between natural sounds and sounds more traditionally considered musical became the composi tional idea upon which the entire score was based. The desire of the composer to create an interface of these two types of sound presented 11 a twofold artistic problem: (1) natural sounds, or sound effects, may be too obvious and may suggest images of too concrete a nature to fit well within a musical context, and (2) absolute music may be too tenuously related to the physical action of the play itself. In other words, sound effects might impede the musical flow of the play as a composition, while purely abstract music might distract from the pro grammatic content of the play. However, in the music for Wings, sound
effects and music would have to interact with each other, just as do
the real and illusory worlds of Mrs. Stilson's aphasic mind.
This composer's solution to the problem of simultaneously making
a play musical and making a musical composition, theatrical was to
obscure the most extreme differences between pure sound effects and
absolute music, that is, to make them less different, and not at all mutually exclusive. (This concept is, incidentally, one of the signi
ficant lines of development in music since the late nineteenth century:
the use of natural sound as music and of music as natural sound.)
Sound effects were used musically, taking the playwright's suggested
sounds and collage elements and "composing" them, letting them sing
rather than simply be noises. This choice was to a degree based on the playwright's admonition that the sound scoring "must not seem like
utter 'noise,' though certainly it must be more noisy than intelligi
ble. "10
The procedure of making noises musical was mirrored in the approach
to abstract musical sounds. The music was objectified—de-lyricized.
l^Kopit, Wings, p. 9. 12
if you will—by the use of a static, non-programmatic style of composi
tion. That is, musical events were not planned to represent dynamic
progressions of emotions or actions, nor to create dramatic climaxes
and contrasts. Rather, the music was designed in a pictorial manner,
with each passage of music corresponding to a mental state of Mrs.
Stilson. A musical passage thus approaches the status of a sound
object rather than of a dynamic progression of musical gestures. It
begins to enter the realm of pure sound, just as the sound effects have
begun to enter the realm of music. In their altered states, sound
effects and absolute music could be combined more subtly than in their
pure, uncompromised states.
This solution necessitated a special understanding between the
composer/sound designer and the director. The composer would have to
be willing to use obvious sound effects. That is, he could not eschew
the simple directness of unadorned natural sounds. He would include
them in his musical language. Likewise, the director could not limit
the composer to the traditional use of sound effects nor rule out the
possibility of using music throughout the play (not relegating it only
to scene changes). The sound design as a whole would be a continuous
factor, integrated into the total design concept of the play.
This expanded concept of sound design influenced the other design elements. For example, the playwright had prescribed the use of moving black scrim panels to create "the impression of featureless, laby rinthine corridors." Along with the actual dialogue, the nature of
Ibid., p. 3. 13 the sound design became a controlling factor as to when and how rapidly these panels would ascend and descend, and how they would be lit. The first technical rehearsals revealed this fact: light and fly cues could not be timed accurately and set effectively unless the sound tape was playing; the changing appearance of the stage was made to correspond to the sound score.
This integration of design caused the entire play to take on a musical quality in regard to the pacing of scene and lighting changes.
The nature of the sound design imbued the production with a certain compositional flow. CHAPTER III
SYSTEMS DESIGN
Recording the Sound on Tape
Designing and producing a sound score for Wings required the application of classical tape techniques of electronic music composition,
Sound effects, music, and spoken dialogue were processed by the use of these techniques:
(1) natural echo—recording a sound produced in an extremely
reverberant space (the basement beneath the Texas Tech
University Electronic Music Studio was used as an echo-
chamber;)
(2) tape-echo—combining and re-combining a sound with a
version of itself that has been delayed through the
circuitry of a tape machine;
(3) mixing—combining two or more audio signals in such
a way that the intensity level of each may be varied
independently;
(4) multi-track recording—recording two or more signals,
each on a separate channel of the tape machine (two-
channel, or stereo, and four-channel recordings were
used for this project);
(5) splicing—joining segments of magnetic recording tape
14 15
by means of an adhesive tape. Sound events may thus be
altered, isolated, or juxtaposed. Splicing is also used
to construct tape loops, circular strands of magnetic
tape that will pass repeatedly across the playback and
record heads of the tape machine.
In addition to using classical tape techniques, the ARP 2600 electronic music synthesizer was used as a sound processing instrument.
Live or recorded sounds were passed through the circuits of the synthe sizer and subjected to a number of processing functions, thus being altered, or modulated. The principle of voltage control was used to determine the values of the various parameters of the original sounds and of the processing circuits. Utilizing this basic principle of sound synthesis, voltages can be applied to amplifiers to control amplitude (intensity), to oscillators to control frequency (pitch), and to filters to control timbre. The original sounds were thus altered through amplitude modulation, frequency modulation, and timbre modulation. In addition to these, ring modulation was used. The ring modulator combines signals so that the output consists of the sums and differences of the input frequencies, and the original input frequen cies are eliminated.
Timbre modulation was the most frequently used mode of processing
12 For additional information regarding classical tape techniques, electronic processing of sound, and electronic music composition in general, see J. H. Appleton and Ron Perera, eds., The Development and Practice of Electronic Music (Englewood Cliffs, N.J.: Prentice-Hall, 1975); John Jenkins and Jon Smith, Electric Music (Bloomington: Indiana University Press, 1975); and Gilbert Trythall, Principles and Practices of Electronic Music (New York: Grosset and Dunlap, 1973). 16 recorded sounds and was usually employed in combination with amplitude, frequency, and ring modulation. The standard procedure was to record a given sound with three simultaneously processed versions: tape-echo, natural echo, and electronic processing. The flow chart in Figure 1 shows the basic patching procedure: 17
u
O o ^-1
GO •II T3 ••4 U 1 O O oi I &0 c cn
o
\_^ 18
Before the final recording stage in this sequence, an equalizer
(EQ) was used to isolate and reduce frequency ranges that contained excessive amounts of hiss and hum.
The use of the ARP 2600 in this patching sequence is detailed in
Figure 2: 19
o CO CO (U u o V4
o CO
CO CtJ o 1 L o o 1
9- <:
0) CO 3
£ V VJ —t-
fi4
V . V 1^<^
CJ V <^ 3 v2 s > V VoI \l \\ •» ^» ''
> > > 20
This patching procedure constituted a multiple use of the ARP 2600, making available a ring-modulated sound, or a mix of the two.
The resulting four-channel compilation was then used as a cata logue of sounds from which the final version would be drawn. From the catalogue could be selected the original sound alone or in combination with any of the three processed versions.
In two instances the ARP 2600 was used as a sound generator rather than as a sound processor: natural wind sounds throughout the score were enhanced by filtered white noise from the ARP 2600, and, in the final scene of the play, the ARP was used to simulate bell and flute sounds.
Since the music for Wings was designed for concert as well as theatrical performances, three final versions of the sound score were recorded:
(1) Sound-track—this is the version used in performance of
the complete drama, and includes all recorded natural sounds
and music. It consists of twenty-three segments (sound cues),
described in Appendix B. The unscored sound effects and
sound collages are listed in this appendix, as are the five
traditionally notated movements of Music for Wings.
(2) Scenes for Actor(s) and Musician—this version also consists
of all recorded sound effects and music, but with the solo
instrument (clarinet, saxophone, or flute) omitted. It is
to be used in the presentation of scenes from the play,
performed by actors and solo instrumentalist, and accompanied
by the pre-recorded tape; 21
(3) Music for Wings—this version consists of all the
recorded passages for handbells, and, in the final
scene, for handbells, piano, and synthesizer. It
is designed to be used as accompaniment for a solo
instrumentalist (clarinet, saxophone, and flute),
and may be presented as a five-movement suite inde
pendent of any theatrical production.
It is this final version. Music for Wings, that is printed in score form in PART TWO: MUSIC FOR WINGS.
Reproducing Sound in the Theatre
The reproduction of recorded sound figures prominently in the effectiveness of a play's sound design. Inadequate electronic compo nents or poorly designed systems render useless the artistic endeavors of the composer/sound designer. However, the factors which determine the adequacy of a sound system are not only the expense or sophistica tion of the components. Three more basic considerations are:
(1) the simplicity of the system design,
(2) the appropriateness of the components to that design,
and
(3) the care taken in connecting the components to each
other.
Although an exhaustive discussion of sound systems and their design is beyond the scope of this paper, these three considerations are fundamental if good sound reproduction is to be achieved. Though they may seem obvious, they are ignored in many theatre sound systems. 22
It is common to find systems which are poorly designed (almost design less) , frequently added-to arrays of very expensive components that have been incorrectly wired to each other. These systems manifest their inadequacy in the form of a loud 60-cycle hum and an equally loud hiss. Attempts to find the source of the extraneous noise are impeded by the almost traditional complaint, "The guys who installed it didn't leave a wiring diagram." Since many needless components have been periodically added to the systems to solve their problems, an examination of every connection between every component is extremely
time consuming, and, in the case of inaccessible speakers, impossible.
The solution to the problem is, whenever possible, to simplify the system, even if this simplification means disconnecting the entire
system and starting over. Further, in reconnecting the system, all
speaker wires should be clearly labeled (see Figure 3), and a detailed
diagram of all components and connections should be made (see Figure 4, page 24).
^.^V+.fr.nt
Fig. 3: Labeling of Speaker Connections 23
The reproduction of sound for Wings involved obstacles similar to those described above. In fact, these seemingly mechanical considera tions proved to be as significant to the artistic outcome of the project as did the more obviously compositional or musical considerations. In an undertaking such as this, it would have been misleading to have separated technology from artistry. They are each a part of the compositional process.
From the first reading, the play had suggested the use of several channels of sound and of speakers located in all parts of the perform ing space. The system finally decided upon consisted of a primary four- channel system with speakers placed at each comer of the house and a secondary two-channel system with a network of small speakers placed above and below the seating area. This would be capable of simulating for the audience Mrs. Stilson's sensations of disorientation and strange adventure. The basic electronic components required would be:
Primary System
1 four-channel tape machine 4 amplifier channels 4 house speakers 1 four-channel mixer
Secondary System
1 two-channel tape machine 2 amplifier channels 2 sets of small speakers (a total of 26 speakers was eventually decided upon) 1 two-channel mixer or stereo pre-amplifier
The house was already equipped with the following equipment:
1 Ampex AG-500 two-channel tape machine 2 Altec 1569 monophonic amplifiers 24
1 Sansui B-77 stereo amplifier 2 Altec N501-8A Voice of the Theatre speakers
It was therefore necessary to add the following components:
1 TEAC A-3440 four-channel tape machine 1 TEAC 2-A quad mixer 2 Rectilinear III speakers 26 low-cost, single cone speakers 1 Dynaco Stereo-80 amplifier 1 Dynaco PAT-4 pre-amplifier
The total system is shown in Figure 4:
mu \N
\ 7. I^ETWOt^t OP
/V6TWC?^)c: of
Fig. 4: Six-Channel System 25
The existing house system, full of hums and hisses, was completely disconnected and then carefully reconnected, adding the additional components to provide four-channel capability. The ceiling and floor networks, comprising thirteen speakers each, were then wired. A combination of series and parallel wiring was used to maintain an 13 eight-ohm impedance. No transformers or pov/er boosters were used in these two thirteen-speaker networks. Nevertheless, this simplified wiring system proved to be entirely satisfactory for the reproduction of low-level sound effects and music, and even of higher level, mid-range sounds: birds chirping, breathing, equipment rolling, bells playing, etc. These sounds were precisely of the type needed from the secondary system, while the primary system would carry the high-amplitude, extreme-frequency signals.
For additional information regarding impedance matching, and series and parallel connections, see R. F. Allison, High Fidelity Systems (New York: Dover Publications, 1965). CHAPTER IV
CONCERT PERFORMANCE OPTIONS
In addition to being conceived as a sound design for a full pro duction of a play, the music for Wings was composed in such a way that portions of it could be adapted for various types of concert presenta tions. Three formats are suggested:
(1) the presentation of one or more scenes from the play,
using the Scenes for Actor(s) and Musician version of
the recorded sound (see Chapter III, page 20). Those
scenes involving only Mrs. Stilson are the most likely
ones to be excerpted;
(2) the live performance of one or more of the scored
musical passages, independent of any theatrical pro
duction. (The entire five-movement suite is printed
in PART TWO: MUSIC FOR WINGS.) All instruments,
including handbells, may be presented live, or the
soloist may perform with the Music for Wings version
of the tape (see Chapter III, page 21);
(3) the playing of portions of the Sound-track (see
Chapter III, page 20) as compositions for pre-recorded
tape. Some of the unscored sound collages, as well as
the entire final scene, may be presented in this manner.
26 27
The following list indicates the selections most appropriate to these three performance options:
SOUND SCRIPT (1) Scenes for Actor(s) and Musician CUE PAGE NO.
Prelude, Catastrophe, and Awakening 1,2 7-23 (Mrs. Stilson)
Floor Polisher Scene 3-6 24-28 (Mrs. Stilson, hospital attendant)
Diagnosis/Flowers Scene 8,9 30-33 (Mrs. Stilson, two doctors, nurse)
Park Bench Scene 11-15 42-47 (Mrs. Stilson, Amy)
Rec-Room Scene/Maze 15-18 51-58 (Mrs. Stilson, patients. Amy, nurses)
"The death thing" Scene 19 64-65 i (Mrs. Stilson) i
Final Scene 20-23 69-77 (Mrs. Stilson, Amy)
(2) Music for Wings (a five-movement suite, printed in
PART TWO: MUSIC FOR WINGS
I. Awakening
II. Waiting (Diagnosis/Flowers Scene)
III. A Park Bench
IV. The Death Thing
V. A Park Bench in Winter (Final Scene)
(3) Sound-track as a source for prepared tape compositions
Catastrophe and Awakening
Diagnosis/Flowers Scene (II. Waiting)
A Park Bench in Winter (Final Scene) 28
Each performance option has been explored in various concerts and recitals presented at Texas Tech University during the 1980-81 season.
On December 8, 1980, as a part of a doctoral recital, actress Freda
Williams performed two of Mrs. Stilson's monologues, accompanied by soloist Ted Bartley and the pre-recorded tape. On April 21, 1981, as a part of The Leading Edge Music Series, Ted Bartley performed three movements from the five-movement suite. Music for Wings, with the composer playing the pre-recorded tape, selected handbells, and piano.
On January 28, 1981, for Program I of the 30th Annual Symposium of
Contemporary Music, the entire final scene was presented as a pre recorded tape composition. * It is the hope of the composer that actors and musicians will \ explore additional combinations and formats for future performances ' \ of the music composed for Wings. « '! PART TWO
MUSIC FOR WINGS
29 T Awakening
B Clarinet, with separately controlled tape-echo
Handbells, with tape-echo, at the following pitches
31 l>'ffi .^^h^efo^^^ s ica. ^^
30 31
X*Av\/akening
(unmeasured, proportional notation) :/ I I
runa 12 10" 10" 6" 4" r^ ^ 10" Ss 3z: let all bells vibrate (l.v.) l^p «»• 9ss i tape-echo on
=60 @ Ci i
^ t* 4' 4JL ^^-T^ -•—^ S s ^ I pi 11 r t?* ^0 ",» crg*^. '",• *i All be!!t ruhj M 32
CI 5 •4—•- $ S W mt^::^p dim. ecno on
iE il: I ^ 'fl^ l%P g echo off
®, ^
fe echo off ^ end note with a hard 't' sound ??
1^ -5- ^ -*^ ;^ I hi p
I ® i^ -^X (quarter-step sharp,
f^'
1 ' 'L, I -I- I ' •!• I »» i >^ ±f!: :l ^ m W LL' >i ^t^ ^if* All txlU piix. m -fJ-iJ^
echo on (quarter- 33 --N step flat) LL a i ^ i''t^>l-i f Mp ^^>^/»> ^<1'»»^ /^^^ echo on echo off
^iji'^^. jiJl^iiKf^ ^ ;p^ »i >m- m :f=sis^c
db ^^ ^ /'>/'//» echo on until end of movement kw t* rung S I Ail b & it CI ^ 2: ^ ;>w ; m -Vr-1 f £-xl )^ t: ^ i i iy ! Ml' h ^ hW i^ung z^in. (p'"-) k 'l^ ^ ;Tf S ^ ^ i echo off 34 C/ i -SL I *r 4 .»I9 r2 X«- ^ ^ i i;f< ^.^- ? M riAi run« IS "9 i r«i»^ f^^ •-*" t?= ^•^ -t-^ ^ echo on until end of movement ^t": ^ ^^ C/ i ^ ^ >-^ ^ I n? runo i :^PE: A" ^-0- a PPP Cr€sc^ l^p A/'**' sss % k. M—*- (echo off) P*^ ir» 35 Ci Ci TT Waiting B Clarinet, with separately controlled tape-echo. The Clarinet should also be ring-modulated with a sawtooth wave tuned to middle-c. Two handbell choirs, with tape-echo for Choir I. Choir I is also ring-modulated through the same circuit as the Clarinet. Bells are at the following pitches: 56 f>eni ^^ifr^-^ :2te i ^^i,^.»^^'^^^^^"^^ Choir I A-^ ^c \Q i:r^^ § TT 10 belh t 21^ ^^ Choir II ^-^ 2*^ ^^^ ^ 'cf^ 36 37 n. Waiting J =50 f—*- J'^ } I ^ •« »^> T- ;-'4 ^^ echo on (faint) r^: ?^ TJ' ? ij-i ^^n^j- ^i^i> ^^^^. '^ -TF ¥—^—f ^ i\ •^•^ T r ^i''. -^n !^ J'.'.rj-WJIit ;• T = •',f;>: ^Ei I y f V P¥ ^ V ^ i=90 ©. ^ >> ^j^if^-^i^-r^ ^n ^TTriT/.;^'^ '^'^'Vf 7 mf p \^ fade in Ring Modulator fade out RM z^/* S j ^ y.-^ ,y >> ^^. > irT^< >'^ ^.>>'^ ^.'^' ^^ r^ 5= I I • : f /^' i i u^ t ^-i^. TRIy^yw k ^ r }\ a" ^ ^i±t ^ •0 tzr^-ft' • • ^ c/ T . V W' ^^ ,::n r =J izfci ; ptix. -*—^_SliZ^ E n^x a: i ^^ i ^ • * "=^ I echo on (faint) ^^^ 38 M CI ^^ .' I ii-i T^ffi ^ni't 1^ ^m ^^ P=^ ^^ f m <| T N.^ > ^: I Tf. 'f [ j £: Cl ^ # # (fkt ^ T ^ y _ f_^^ >»f «r i f ) i.^!'' *? Z3 I ^^ ® Ci )^>li^ f^T[J>7^ #0 f f 0 i B\4 0 0 f \ • c< y 7 7' •*-^^^ -* 0- ± s i I J / i r Mf ?' ^ /^^ Increase echo mp ^; 0 00 -»j—#- i^&r ^ '^, I Y' >i! f \r '^ 'ii y.'^, r» f , J > =^ I '^> 'iJ s= '^^ increase echo I*'—y ^/ 5 f.t • i ) \il>L' t .} ' ^ -^i^ »- • >*- f ? >"/• f fnp V Tf ^r echo off PP PP' /^^i^ yh ^ :^^ "^ ^^'' ^^TIMI^ echo off 39 ^ ^ CI 5 • p ^ I mp p^,fnp- VibraVo (rt< ^^l -^^^tJ^ ^ ^ >=r^ r I 7 I r i ^^^ ¥ ^^ c/ ±—it: I —5" ^ .>^f PP' ^fz •PP Ri: ^= f'ji5^ ^r.i^Qt^ b fade in RM »**^'/SA^S/S< c/ 7 I I ^pi 52= m • m»<'^/ *^ f m; 7; ;;V ;;• «; m f*k ijjl ^1 l'^ ^^ ^^ ^ Ui)% z: RM off 40 —@- »^^>^^^«^^ Ci S ^^ S » 01 i M^ Mf •xf I I >>rj(^ J >• T^?f J^.? f^ i' I ^ >f '^ J i '^ "i "^ i J ^""^iXiS^'^A .@^ery l;if|e) CI ^^^1^ ^^ ' i 41 ^,m a qczac 1' g' m P^ dfcr £=ct n »• '4 £J >^ T X g i ^^ hV ^ ^pTPlOAA I «i^ai / i*50 C^) / 4r. c/ I 0 l» 0 00 0 4 0 0 00 \ 0 00' O •£=. d-im^. PP 7^ PPP echo off i^5Q rune '^ >^> ^^ i ;» ^ '.^ T^ Z< l.v. / >1IX 5 ^ ' .. * ^ :±±=^ dig) ;f 1^ 3C :f?=^ f ttr^ >w^ r »^r' An rwni ±:& 3 42 H a j } n ^^ f^ rs^ 4 m S J-72 © 9t: CI s >* i ^p •PP ^ •$ RS irp ?^ te ^ i=72 •^ »*: 4^ S^-^ ? H—#- i ^ M 3= *»ij dampen as in dicated by i.ote values =t t ^3. i ^: S ^ US' w mf ^p <1 . .^ r il ^y: if'rza 1^ .^=4 ^ 2. i^/'a TF I r i"^ ftk: J ig 1^ ?l a hi I^ ^ '!^>l P ?F +* ^ ^ 45 a Afif' ^ "^^.1 ;p • -^ - J- X - J. - ^^ ^^= j>~ H9l< ff ^ -^ ?irn2i f nn :ii^- S^ CI ^^ B S 5E Ki' ^ ^1^ T "^ .. ^ T ^ f 1-^ 1 ""^'*"^^F' 3=t :i ^ «^E fff ^^ TJ: ^ ^ 46 -v-- a ^^ fe ^ P ^^^^ *' ^^ > 't ,pr?l «^ »^ «^ u X 4.^ ^' v^! Y'T •?r 7?r ^r 41- -f EC JSC § ^ i -f-f- 'T^ <*>^ ^•4L' ^4U *; 5 T tf—feS—^r ta? 7^7 \ =?^ L,' ' T /; a ^ ±^ w r TT i 1 ^ i cnsc. ^f 1 V iF» ^ .^ P' IT B< ???^ ;i ^^ bl' ;; W ±^ 5 T5: ^[r^ P ::^ TT f ff % 3-^ =±3S=Z±= * 1. IL> p h\ r S •-«- =2=acp: ?: p f f ^ ^ 47 @ CI ^ i r I erttc. 'r -^sr ^- 4 "" '-^ hl< ;;/ 9'^•n : 32= r —r ii n: H^JI *'if s ±± ^ -^-L. i r r ^r r echo off ifk'' echo off echo on A Park Bench Two handbell choirs, at the following pitches Z9ttnf ^,^.,.0^.^^^^^ Choir I« ^'' i,ie\i^ 19 beU^ ),^\^'9£. ± ts^jtt ^^^ I at 0^0 Choir II T^ bgjjp ^\ obtggig: 48 49 m. A Park Bench J=50 € =i^ :i ^ m^ KJE' Mf l.v. ^ •2-Ii (D I t>'i :? ^ 2^ ^^^^^S^ •ijl' > ^p p ^ Sw'n- -•. •- III ! ^^ ^ M IM ^—(i»^- E i3E e^M ' I , i^^ # f^^I SWing -PiIZ •^ ^ ^^5:= ;s£: ^ f^T-,^ 50 him m ^ ^-^ J. I I 51: 33: 5ai=t •**• 31 , a > •*—f-t-*- S 1 ' »^ »»£' cr€f^. i 3 3= • »> • » » • » I < -#—*• III I I x=3: 3=1: • I • T»-r f^^r P ^ I—^ L ^^ "fir^ jr^d^Ad crcs<^. l.v. '?.'**•'fi~'..ne: n ^^^ \ \ I, i ; I ^p I I I I i j i [T^ ' J ' ''^^' ii "SSML zsx m v'9p jr >Ji 4i__i4—u. 4A m '^ ^ - 'T ,r:J .u. Ifi ig: ^^ T^ ^t I S m{ f =5: -•^ 51 ft £ s m 1=S' z: :is: ^ •% .iLL s < I I $i ^tP T 3z: M- ^^ ^"^J ;f .r-4- J. i^ 1 ^ •^11 B' i^ 50 Iril I it J. 50 f # ••*• ^^^1 ^-' ^ ±i xr=: f»i.< /w^ -1^ i :^ '^^ fcv. J =3: I I ife ifeb ffi: ^^ ^ TT irr^ >r >? «? s . ..' ' f M( •;» J J J J "^ j J : J i 52 -* S-r-» M ' »• f^ >> ^> \' I -1—4- bl- ^m '^ P7P ^ J J ^ f^?r ^; (/^rf aradxAA crifc ^ ff&i •^ , 1 I ^^J'y~i >ina 5wir '"5 ± I—fe ^ Ifil I MP Hf ; i^L*. ^ SWIMH H ^ HW t g ?», H^ ? S w>"5 J^iwq Swivic Sv«ina 53 y 5 Win* -Z. ftpl I t ±±: SwinA —U- •4-*- =i E Itt ^^ J£ i± I ^ "3 r S it»i< J d'fi**' LM- g i 3=5: 't ". Jw'inO s I -yi. ?x 'i ^ ? i tr:j JL^ ii I i \ I «=?: ^ ft5i: •*^ ;l ? ^^-r ~tL [)i^' ^y^p I i -2J- m ^J=^ •'-^ ji. 7 1^ i^~^ .qi ^^F^ »«[< F i 0 3=1: I g« g 7P ^ SF w »>* ^ ^ TV The Death Thing E Alto Saxophone, with separately controlled tape-echo Thirteen handbell players, with bells at the following pitches: 54 55 W. The Death Thing LM. R.H. TTB*-% I -9—^ Hk m ¥ Each handbell player has a left-hand bell and a right-hand bell. The players simply follow an appointed leader who chooses ringing techniques from the following list: RH single notes LH single notes RH and LH single notes RH tremolo LH tremolo RH and LH tremolo RH tremolo, LH single notes LH tremolo, RH single notes All of these may be hand-muted (by holding the bell rather Chan the handle) or may be rung in the normal napner. The leader indicates not only the ringing technique, but also the tempo, durations, and levels of intensity. The players synchronize their single notes with the leader. 56 <^>^ I SM(^ "p W ;tYfin'hJrr'i^^l'% Llateniag to the textures created by the handbella, improvise on these figures ^ ^ yi- { ^^^rl'r"f^f ^^^ g p F=c f\ •: r.rf ^ ?s t=tit % i ^^ mp w ^^ It ly k if g=^fe^ 43^^ ^s ^^ I f^py^fi =?2I— i ^ '^^ t> K^'"' 9.^ '^ v.y, ^-^ )-^ 5 :i ^ -f^ i *p "V A Park Bench in Winter Flute Synthesizer (bell-like sound, equal-tempered keyboard control) with tape-echo Piano Handbells, with tape-echo, at the following pitches 34 ^ ^ I .U^g^^O^^""^^' i ^^Hfl«>^^^^ 57 58 X A Park Bench in Winter first time: bells second time: synthesizer (bell-like sound) #s80 3va ilrrougn m. 61 I ' I '! ^^ iil ^^)- ^It PP l.v. echo on (for both repetitions) ^ >ii' iJ^ 3t3•^-^- ^ ^ ^M p ^ »• M. "4 i'^ =;^ ^ f » -•^ -I - <->> ^~jn^ P '5 *'';?'r^^ 'f i M' y^'* ^'/,i''Mi^ 59 m ? ''Tvvj"j> I ''V^ "•,."• I I -^•.[•"Ti nn ^^ )« ,. ^^^^^ >^ !^' ;« i^Dj -M- •^ Hi^i;'"\F' '5 >» 'i* * }*'^' -r»V >i_;y^^\>fa;; i *>< ^» ^ m r* 7*-^ -jr . ^.i—^d^iS' -"' ^^ ^^ (2^ fjjl ^"^ji ^ ^ ^^^^^^ 60 ^^m(Bva) ® 3*: I ^^ P'' ;7^ *^:cti ^ ^ *,>„_, J-- 3t:i* ^ 'ill'» 1^^ *-«——*- ::3[ fe -N'-—r-*—'• P==^i=W^ ^=^ I • i,.-y^,;i.jj; .vj^'u.j^ ^^ ^ SJ''M^J"^'^' ^'^= *,*, .;' s< *«eM3pt' (^^J",i,.. "^ ij'Vji^ji',;.' (li ^^ 61 i ^ [r""'' u'Vj.y'' I '^^'''j "yi";^ i|;^^;"^ff#"; i*>^j.ifi'yj (© 3zr S^^^^^^ <§ 'T^i "t .nT7>^ HTFi -^ »i*'rai^j>^/ ^ 8 \/« Twrouan rr\. 2.oS Pj MS. ••-•<- ^s gi ^ g' 'iiV,iiV 3a: P • 9^ A Py *-=rr^ S T'. •. '•; I •«- ^ I •#—^ 62 C8v«) i>^'- • I ^ '"^m} s^Ki^i5 ^j Ii i j ;i^ if zptI M; i? 7 ' Ii Wpi> pjipg' if:^ (® *^ •M- ^ »i' »J^* (1^ ac I ^ Fi p 7=as=s- ?« aipjz^ g^ IM'* - I -f# 63 F/ ?. (® FI i ^^ 1*; ^ ^ i ?. !^ } ^TT-'TT'I :^ '7"''^',.i (® ? -*»' 3: i^ [iiim^^' ?^' li'r\ij. ^ ^i'^^*' I •^ I f^ \d» -^ p I 5 33: p. ^^ ^ ^S M ' »*'' M ^ ® 64 b-tS*-" '$ (Sva) ^"im (lop) i*. Ff I z£ ?- ffi '^ ^>\ii'I^V'" '^ i Fl ^ 4 f? *^lii^^ 7 W gj^ ?^^ —^^ ^^ ^ mf l.v. p, ^^^^F? ^I'CP '>,- 65 10) Fl , I Fl I ^ (8v.) P. - 4 ai >*^^5 -f^rr ^ ^0 <^i- ;» ?j> r^ (^ 2C Fl I Ph W: »>~t ^^; • I :0 ?* ?^ f/ ^ '^ i 7 >>= ;>« 5 P PC T: ^ • •nlWtf- ^/ .J.^^^ -i g5=^ ^ ^ >« /» 1:2: F/ f-^=^ ^ Pn 1^ ) \^,F^^^^V~^' '5 W" s 66 F( Pr 'v^^i^>''^,; 50; F/ 'nA^W S 35Sdt ^ t^ 1^ m^ 5 P. ^^ >i"„",;'^'''V'b. ^' ^ ^^ 30t: ^ F/ P. § ^s^ ^^ ^ ^ 5 I S±i I II I ^^ f?^=5PC i •,i'W,h''S 7» 67 40) Fl * i "^"1^ P ^*!'i* ^ (8^a) S 1 ^i»')).'ii»j''yi«c .» ^ Ff £L it. ^ I :¥a= W=a: f'Sl.i i y'vi^M^V >';7 z» ' t u,' ^ f."SI F' ^ ^fe I ? W^ 5 as^ ^^ fnp jdr Ff rJ Ph. ^ i L ' ft;) -^E r ^ /*># f ? '^f ?, I . i 1 i fi^^^K^^ ^ Hi m T^ ?, 68 Fl JH P.^^^^^ i*%rM9* ^ ^,i^i'''j J»*- T « > <»5 ja^ ?l —^ i s£ 4 r^^^^' '^ '[' »;^'Jy;'^„^Bfe F( ? w^=^I^ ^t # 1 69 fl F( 3: P^ hk (Sva^) ii^h^^i^^r ^^ P. I ! I I ^ V'^'jM"tJi • Ff i Hi i *-T ^ i ^=^ P« E^^ I m^^•'»V^ V i gi-"i* , f#'^?Ci=:? f/ Fl •^fT- ^^ •* * i ^ ^ ^* 7 ^> ' F. i^S5ri ^ ^^ w ^F^ i>i*>i#%'^ ;j # p/ i 3z: p, ^^^ J00 slowing ^ra^ua/Iy until fkt €nc( 70 255) >«•£- t i ^ f ^ ^'60 $lcwiHj ^radua/fy unHI HM itid H :l m ^ ftAn^bc//< fff 1- PP H l)(P 3 ^3: Fl i 9^' Jlfi. ^ * 1 gP t^ |5« ^m ;i ff (fi> mp fff 1 LU J P i ^ «-" •'^ 71 v>try il9W PI 11 11^ iS ^ Q9 ^try slew *>«: 32& -^ a iz m ^ w Mf ^mp t^* ^^ 9 » t I » * 0 PP » » Fl s ^ < ll> ^ M I fe^ - tf 5 1^ T« f (fb ^ rv ^ :f=i^ Fl e ^ ^ T i /:> o^ 4^ 5 -"» S"—. ;^ 1^ i(b 12: ±3E BIBLIOGRAPHY Allison, R. F. High Fidelity Systems. New York: Dover Publications, 1965. Appleton, Jon and Ron Perera, eds. The Development and Practice of Electronic Mus^. Englewood Cliffs, N.J.; Prentice- Hall, 1975. Backus, John. The Acoustical Foundations of Music. 2nd ed. New York: W. W. Norton and Co., 1977. Collison, David. Stage Sound. New York: Drama Book Specialists, 1976. Erickson, Robert. Sound Structures in Music. Berkeley: University of California Press, 1975- Hamel, Peter. Through Music to the Self. Boulder, Co. : Shambahla Publications, 1973. Jenkins, John and Jon Smith. Electric Music: A Practical Manual. Bloomington: Indiana University Press, 1975. Khan, Pir Vilayat Inayat. The Message In Our Time. San Francisco: Harper and Row, 1978. Kopit, Arthur. Wings: A Play. New York: Hill and VJang, 1978. Reynolds, Roger. Mind Models: New Forms of Musical Experience. New York: Praeger Publishers, Inc., 1975. Schwartz, Elliot. Electronic Music. New York: Praeger Publishers, Inc., 1975. Truax, Barry, ed. Handbook for Acoustic Ecology. The Music of the Environment Series; No. 5. Vancouver, B.C.: A.R.C. Publications, 1978. Trythall, Gilbert. Principles and Practice of Electronic Music. New York: Grosset and Dunlap, 1973. Wuorinen, Charles. Simple Composition. New York: Longman, Inc., 1979. 72 APPENDIX A. LOCATION OF TAPE RECORDINGS OF WINGS B. SOUND CUES FOR SOUND-TRACK VERSION OF WINGS C. PROGRAMS OF PERFORMANCES OF WINGS 73 74 APPENDIX A: LOCATION OF TAPE RECORDINGS OF WINGS Reel-to-reel tape recordings of the Sound-Track and Scenes for Actor(s) and Musician (see Chapter III, page 20, for a description of these versions of the sound score) are available from the composer. Both of these versions include all natural sounds and sound collages (these unscored segments exist only on tape), as well as the traditionally notated movements of Music for Wings. A video tape recording of a dress rehearsal of the Texas Tech University Theatre's production of the complete drama is on file in the University Theatre Office. Also on file at the University Theatre is a cassette audio recording of a complete performance. A reel-to-reel recording of Ted Bartley's December 8, 1981, Ph.D. Recital is on file in the Texas Tech University Music Depart ment Listening Library- Selections from Music for Wings were performed on this program. 75 CO CJ TS 60 • ft ;^ CO 0) •H CO 1-t 60 iH 42 13 r-^ 0) OJ CO O 0 r-^ a o !^ 4- f* a CJ ^ s 0 fi +j cfl r-i M 4J O 60 OJ 60 CO o •H CO -fi CO 4J CO B U /-s T3 o -u S fi r-^ CO r-{ U (U CO fi fi rH 3 r-i >% iH O (U 3 TS CJ »> CO 0 0 CO 0 c ."v iJ u.^ C "Z O S 2 CO a a M -H M CO 3 (U CO •H CO (U bO ir> o > 60 CL. u 'O C Ta &0 CO o O- fi fi CO CJ •H u fi •H c c (U Pi Q o 43 3 60 3 /^S 0) •H (i) S-' 43 CO 0 CO 0 —( o o 4(i 43 •H k—4 J3 TS 1X4 CO s CO C CD O &. 60 M T3 r-t « fi -fi M ,,^^ •H O fi O 3 fi E-t fi O 1-i rH r-i u •U U 'H 4-1 CO J-i o M 3 a. fi. CO CO CO 60 •u fi 4-1 O CO CO I—I 4-J 4-1 c o CO oj O A M •H a 4-t CO OS M •H •H •H O CO -i^ •H -fi 0) CJ) o a Q4 -a Q. 4J CO O •U CO CO fi rH o CO CO c CD •H •^ X t-{ CO 5 fi •H T-{ iH 0) u CO 0 0 0 CO w CJ CJ < >4-( I-; CO • • U S ^ 4: 3 43 S 3 >> o 3 Q o •u g CO CO 'O fi o (U (U H fi CO -fi M a 3 § (U PU >>i PC TJ CO O > fi d- in r>. r^ CO C7^ >-t JZ CU o CN CN CN CN CN CN o u 5 »-4 CO m I CO « o CO Q CO -ui •H CO 4J x:. 0) O fi u u 3 CO -^ CO O 'H !M p x: *-• M-4 Vi at iJ 0) a43 OJ • 1 0) J3 s_^ •M S c >. -C o O 0 0 •U CO -H CO CD CD T3 O fi x: 00 rH > rH ct CO 0) (U > fi 4-1 •H M-l 5 fi •H 3 •H 4-1 •U U CO 3: CO CD M CD CJ ^—\ CJ 43 fi > G 43 4-1 CO »wx •H 60 a •H rH CJ CJ 5 ^ fi 0) 60 CJ CJ & CO fi. <\ •H 4-1 CO CO fi 0 M M CJ •H fi 60 Nw/ r^ — hH o CO TJ o CO fi M fi T-\ fi •H s«/ CO r-*, 60 fi fi- 0 CO T3 ^ fi •H •H fi •H u 60 3 o •H 4-1 z CO o 43 4: CO CO CO O H fi T5 a rH CO T3 M r-^ o1—( CJ ;-i fi 43 EH s pq •H C CJ T) •H o e 3 4-1 "(-1 t-l Q^ fi 42 CO C o O CO •H 43 4«J CJ P>S 4x5 o CO CJ 4^ 3 •H •> fi u Q W-l V4 -fi CO •fi H u u I CJ CO 43 CO CO fi PH fi 60 N CJ OH 4J Ta U Q •H •H fi o CO Q 43 •H fi = S < 5 OJ CJ S H < 5 CO u H O M CN en c^ CO CJ CJ •^ -3- CO <3 CJ ^ • TJ 4tJ >. J-I " 0 • CO CO r—1 4-1 M 5 J3 • •H 4-1 ^ • «j J.^ 3 3 CO o« ^ 3 0 T3 3 • CJ 4-1 - J2 >^ fi CO 0 •r-1 CO 0 4J J-I • 4^ CJ -fi 4J 0 CD r- <-* CO CJ 4-1 fi •H "So • CO CO rH B 0 CO •H 43 ':i rH fi 60 4-1 fi . H •rn CO T3 CJ Z CO 3 ^ 0 •H fi 42 Z • r^ 4J •J ^3 CJ z ^ 4J ^ CO •H U V4 CO 43 • • • ^ Z CO CJ CJ > #t 4-1 T3 • fi r-\ 0 4J 4J 4-1 >. CO • • ^ CD ~ ^H -a CN CO in vO 00 CN o> o CN CN CN CN 77 s M CJ I a3 43 60 H W CJ 4-1 CD CO CO a S W P CJ i O CO ^ w ^ PLi 1^ ro in s I ^ r- CO s CN Oe \/ «^ _/3 " u("N^ rH ^« V ^»fe nnel s CO § • • Xi CJ CJ CJ 3 Q CJ }-l CO OJ w X H O •H o CO S 2 78 >5^ CJ 3 a 4J 43 .« O 60 H U D3 7 CO CJ 4-) CO CO tN» CJ 5 Q f o Z i i o CO ft |4 w ^ vrs v£) (14 S CN Do o CO CJ fi fi CO 43 CL? OJ CJ 3 CJ u CO OJ X H O CO o 2 79 OJ 3 a 43 60 N H W -? W >) /•«>* ^ CO CJ Cd 4J CO M CO o CJ S Q 2 P O \D CO UN r^ W en in Pu (^ < CO S CN i ^ *» 2 i - CO rH OJ fi fi CO P o CJ 3 CJ )-l CO CJ w H O o 2 CO APPENDIX C: PROGRAMS OF PERFORMANCES OF WINGS 80 81 Texas Tech University Theatre presents k/INGS Arthur Kopit Director Ronaid Schulz Scene and Ughting Designer Tom Colwin Costume Designer Leigh Ellis Music and Sound Composer Steve Paxton CAST (In order of appearance) Emily Stiison Freda Williams Nurses Debi Buckner Ginger Kincode Michele Pennington Doctors Brad Campbell Kent Wrkpotrick Atterxkint Mark St. Amont Amy Katherine J. Massello 'ally Dan Foster Mr. Brownstein G.W. Razier Mrs. TlrTMmins Sarah Bnerson THE AUTHOR AND THE PlAY Arthur Koptt was bcim in New Vortc City In 1937 and In 1959 was graduoteo from Harvard College, wtiere he began his pioywnting career. He became fannous with Oti Dad, Poor Dad, Mammo's Hung You In the Closet and I'm Feelin' So Sod which was first produced Off-Brcxactway In 1962. His next major play. Indians, was produced by the Royal Shakespeare Company in Londcjn In 1968, and in 1969 was presented in the United States, first at ttie Arena Stage. Washington, D.C., and later on Brcxadway. Both plays heave been released in motion picture versions. Wings was originally written as the premiere production C3f National Public Radio's Earpicy and was aired ir the fall of 1977 with Mildred Dunnock In the role of Emily Stilson. The odaptatfon for the stage was given Its first perforrrrance at the Vale Repertory Theatre in New Haven, Connecticut, in March of 1978, with Constance CXimmlngs in the leading rcjie. The prcxfuction was moved to New Ycxk's Off-Brcxidway, to Boston, then to Washington's Kennedy Center, and finally in January of 1979 to Brcxadway. Miss Cummings received a Tony" award for her performance. Wings deals with language disorder C3S a result of stroke, a subject Mr. Kopit became interested In when his feather suffered a major stroke in 1976. The play is based on months of careful research and sensitive observation of patients. Including notably one woman who in her youth had been an caviatrix and wing-walker. However, like any true artist, Mr. Kopit in his play gcjes beyond mere clinical documentation to implications universal in character In ctolng so, he takes us cjn a poetic journey into the world of Emily Stilson, the stroke vicrttm. ' In answering the question to what degree the play is faithful to fact and to what ciegree sheer speculation, Mr. Kopit In his Preface to Wings (Hill and Wang, 1978) has written: Wings Is a picjy about a woman whom I have called Emily Stilson. Though she suffers a strcske, in no way is it a case stucJy, and in its execution I hove assiduously avoided any kind of clinical or d -R.S. 82 THE PRODUCTION STAff Assistant Director/Stage Manager Terry Tittle Technical Directors Morris Ellis, Tom Colwin Clinical Consultants Kothy Masselka, CCC -SPL Mlctiele Pennington, R.N. Assistant Stage Manager Scott Green Business Manager Cheryl Hardin Promotional DIrectcx Dale Hearth Ticket Office Manager Esther Sundell Lichti Assistant Business Manager Terry Tittle Box Office Assistants Carol Blaine, Sylvia Gorrtez, Delores Rangel. Ramona R MONGS is presented through special arrangement with Samuel French, Inc. 83 ACKNOWLEDGEMENTS Electronic music was realized in the Texas Tech University Electronic Music Studio. Special assistance v^/as provided by Dr. Ron Pellegrino, Director, and by Dr. Mary Jeanne van Appledorn, ftofessor of Ccxnposition. Handbells were played by Greg Barnes, Susan Barnes, Harvey Landers. Gail Littleton, Sarah Nell Summers, Mary Jeanne von Appledcxn, Natalie Wham, and other members of the Texas Tech Universltv Music Department Handbells were made cavailabie by Joe Jones and the Ookwcxxj Baptist Church Music Department, and by Mike Bedford and the Bacon Heights Baptist Church Music Department. Assistance vyith materials and prcxredures used in the treatment of aphasia was provided by Dr. Kurt Hamre, Clinical Supervisor; Penny Cremeens, Sue Hamre, Sherry Sancibrion, students, and patients of the Texas Tech University Speech, Language, and Hearing Center Mr. and Mrs. Bill Cantrell, and Mr. Nick Oy>/en provided assistance in aeronautics. Additional assistance was provided by Bobby Neie, Amco Medical Service Angelo State Universit/. Departnnent of Drama and Speech Mary Callahan Cbkjnial Nursing Home DaikasVisiting Nurse Ass PWpaiBdbyGRAf>HCS£IMC3S/UnivetirtyN»«&PublicatK3ni 11-«0 84 JV^PJCm (pLEGE THEATPE F^^M XIII If you're on hand for on American College Theatre Festival play, ycxj're one of 1.5 million ACTF audience members this year. From the campus level to regional festivals, more than 400 colleges and 13,000 students will give their all to receive avyards, scholarships, and special grants fcx actors, picaywrights, designers, and critics. As many as ten schools will be invited to a national three-week spring festival at the John F. Kennedy Center for the Performing Arts in Washington, D.C. ACTF, on example of pluralistic arts support in America, is produced by the University and College Theatre Asscxiation, a division of the American Theatre Association. The Kennedy Center and the Alliance for Arts Education contribute public sector financial and administrative support. And for the eleventh year, the Amoco companies are the corpxDrote sponsors of ACTF, representing the crucial interest of the private sector in Arnericon cultura Now, enjoy some of the finest American theatre anywhere— an ACTF performancel Presented by the John F. Kennedy Center for the Performing Arts and the Alliance for Arts Education Produced by the University and College Theatre Association, a division of the American Theatre Association sponsored by the AMOCO companies AAjtocp 85 Texas Tech Universily Department of/Husic Lubbock, Texas TED BARTLEY Woodwinds Ph.D. Recital Monday, December 8,1980, 8:15 p.nn. Hemmie Recital Hall Wings Steve Paxton Freda Williams—Actress Gail Littleton—Slides Music for Harp and Alto Saxophone, No. II Robert McClintok Stephanie Reavis—Harp Intermission "Tenoraga" Ted Bartley Matalie Wham—Prepared Piano Steve Paxton—Audio High Society Porter Steele and Walter Melrose Arr. Bill Howard Basin Street Blues Spencer Williams Arr. Bill Howard Figety Feet D. J. La Rocca and Larry Shields Arr. Leroy Holmes I'm Confessin' (That I Love You) Al J. Nieburg, Doc Daugherty and Ellis Reynolds Arr. Will Scnaefer King Porter Stomp Ferd "Jelly Roll" Morton Arr. Lawson-Haggert Dixieland Band Trumpet—Grady Alberts Bass—Bobby Todd Trombone—Jimmy Edwards Drums—Blake Coffee Tenor Saxophone—Allen Cook Guitar—David McCoy Piano—Skip Wenglein Visual Artists—Dan Wood and Joe Arimitsu Lighting Technician—Mary Lynn Bartley This recital is presented in partial fulfillment of the requirements for the Doctor of Philosophy degree in Fine Arts. Mr. Bartley is a student of Mr. Don Turner, Mr. Keith McCarty and Dr. Michael Stoune. 86 PROGRAM I Wednesday, January 28,1981 Hemmie Recital Hall 4:30 p.m. Texas Tech University Student Composers The program will be selected from the following compositions: '^ S"^'I-'^«"''^a''° <^!^°' / Waid Griffin Jr. Waid Gnffm-Piano, Synthesizer (1952- ) ^"i?"! ??y'^ ''^"i^^SO (1980) Mark Murray Mark Murray-Electronics, Percussion, Keyboards, Tape (1%1. ) Mark Matos-Bass, Percussion Tom Blackburn-Guitar, Percussion Music for Birds and Humans (1980) Mark Murray Mrs. Hale's Birds-chirps, whistles, sound (1%1- ) Cynthia Fanning-human sounds Mark Murray-human sounds Mechanics (1980) Todd G. Barkley for tape pgeo- ) Love (1980) Steve Brooks Steve Brooks-Piano (1961- ) Frag (1980) Cynthia Fanning Cynthia Fanning-Piano (1958- ) He Could Have (1980) / Wonder (1980) / yust Don't See (1980) Greg Evans Greg Evans-Piano, Voice ;1958- ) Shannon Campbell-Voice the one sided story of the three hundred and thirty mile click (1980) Anna Villasana Anna Villasana-Piano (1961- ) Catspaw (1979-1980) Tom Blackburn Mark Matos-Bass Guitar (1960- ) Mark Murray-Keyboards Tom Blackburn-Guitar A Child's Introduction to the Cosmos (1981) Gail Littleton Texas Tech Flute Ensemble (1954- ) Zoetrope 1981 Gail Littleton The Real-time Electric Theatre Band (1954- ) Mirage (1979) Marcel K. Murray Felice Franks-Harp (1957- ) Anthropology (1980) Marcel K. Murray Thomas Braxton-Alto Saxophone (1957- i Cedric Lee-Bass Guitar Ron Propst-Guitar Karl Gore-Percussion Mike Hale-Percussion Marcel K. Murray-Piano Erotic Dance Mus/c(1980) Michael Komkov Michael Komkov-Piano (1%1- ) Wings (1980) Steve Paxton Steve Paxton-Piano, ARP 2600, Tape Machine (1951- ) Slap N' Pull (Funky Time in the City Tonight!) (1980) Mark Matos Mark Matos-Electric Bass (1961- ) Tom Blackburn-Electric Guitar Mark Murray-Electric Keyboards Fall (1980) |im Mann Jim Mann-Piano (I960- ) Student composers are from the classes of Dr. Ronald Pellegrino. 87 Texas Tech University Depar^menrof Alust Lubbock, Texas jOAN TOWER Composer/Pianist and the DA CAPO CHAMBER PLAYERS from New York City SEVENTH EVENT 1980-81 LEADING EDGE MUSIC SERIES Ron Pellegrino, Director PROGRAM Tuesday, April 21, 1981, 8:15 p.m. Hemmie Recital Hall Music Building LECTURE-DEMONSTRATION IMAGE, NATURE AND SOUND: THE MUSIC OF JOAN TOWER Wednesday, April 22, 1981,10:30 a.m.-12:00 p.m. Electronic Music Studio McClellan Hall, Room 116 88 PROGRAM Tuesday, April 21,1981, 8:15 p.m. Hemmie Recital Hall Music Building Real-time Electric Theatre Band A. Tenoraga (1980) Ted Bartley Matalie Wham-acoustic and prepared piano Steve Paxton-electronics Ted Bartley-tenor sax B. Music for Wings (1980) Steve Paxton 1. Awakening 2. A Park Bench 3. Waiting Ted Bartley-clarinet Steve Paxton-handbells and electronics The Music of Joan Tower performed by the Da Capo Chamber Players Andr^ Emelianoff-violoncello Laura Flax-clarinet Joel Lester-violin Patricia Spencer-flute Joan Tower-piano Petroushskates (1980) for quintet Cello Variations (1971) for cello Hexachords (1972) for flute Amazon (1977) for quintet Platinum Spirals (1976) for violin Red Garnet Waltz (1977) for piano Petroushskates (1980)