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Compositions Muyco, Maria Christine 1998

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COMPOSITIONS by MARIA CHRISTINE MUYCO B.Mus., University of the Philippines, 1995 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC (COMPOSITION) in THE FACULTY OF GRADUATE STUDIES (School of Music) We accept this thesis as conforming tq the required standard THE UNIVERSITY OF BRITISH COLUMBIA April, 1998 © Maria Christine Muyco In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of (Vl(yf 1 6 The University of British Columbia Vancouver, Canada DE-6 (2/88) ABSTRACT The succeeding pages contain scores of my music—Passage to Kublb, Dalamhati ni Osang, Pintig, and Talibun-ag. "Passage to kublb" , for large orchestra, is a travelogue. Using a certain number of intervals, the instruments go through a journey, signifying life's constant changes and ceaseless motion. Melodic and rhythmic motives are used, fragmentation, and variation of timbral colors. "Kublb" is a fictional place; in essence, a destination of one's life journey. "Dalamhati ni Osang" (Lament of Osang) for a soprano, bass clarinet and marimba, is a composition revolving around a hextatonic scale which goes through a process of change as the music progresses. The text, written in the Filipino language, conveys the lament of a woman wanting to escape from her sorrows as she pleads her beloved to "lull" her; thus the repeated phrase "iduyan mo, o hirang" which means lull me or cradle me, my beloved. The woman's concept of "sleep" is an end-goal from which she frees herself of bitter memories of the past. The nuances of the vocal lines point to some native materials common to the Filipino "kundiman"(ballad). Use of expressive lines in legato phrasing, repeated sections (ABA form), and in some instances, use of embellishments like the repeated grace notes. The hextatonic scale is the composer's own material injected to some pre-formed structure already existing as in the mentioned ballad. "Pintig" (Pulses of Mother Earth) which was originally written for the "Elektra Women's Choir" during a pre-Christmas choral reading is a study of tribal vocables and different vocal effects. Stomping of foot, tapping, and other ritual sounds are employed to concoct an amalgam of primitive or earthy vista. (Note that the recording provided with this thesis is simply a reading session of the piece). "Talibun-ag " is a coined title from the Filipino words "tali" and "bun-ag" (bondage and birth) which if combined literally can mean "birth of freedom". This is a music drama for a chamber ensemble (piano, alto flute and percussions), a mono-dramatist and a choral quartet. -I-Score in C except for the Piccolos(8ve up), Glockenspiel(2 8ves up), and Double Basses(8ve down). Instrumentation: Piccolos 1 and 2 Flutes 1 and 2 Oboes 1 and 2 Clarinests(Bb) 1 and 2 Bassoons 1 and 2 Horn in F (4) Trumpets 1 and 2 Tenor Trombones 1 and 2 Bass Trombone Tuba Violins 1 and 2 Violas Celli Double Basses Percussions: (D Maracas Tomtoms(4) Temple Blocks Glockenspiel Triangle(suspended) (2) Vibraphone Tamtam Triangle(suspended) Suspended Cymbal Maracas (3) . Tubular Bells Suspended Cymbal Bass Drum Triangle(suspended) Timpani(F,G,Ab) String bass bow (for bowing the cymbal) Performance Notes: Scrape in a circular fashion using the metal beater of the triangle: Tamtam-i g § l Play as fast as possible M Bow the rim of the rim of the cymbal Continue or repeat boxed, notes ftecdo t v ahof * 1 P«rc. 3 Vt'. "IT* "PMC He* in • 1 Tyb> Vol- " Notes on the text Pronounciation of the lyrics is based on the following: Phonemes and Keywords a—Saturday, balloon i —igloo, mittens o—-on, Olympics u-—loose, room Hirang, Iduyan mo, O hirang Puso ko'y tumatangis Puno ng dalamhati Sa alaalang kay pait. Hirang, iduyan mo, o hirang Kat'wan kong namamanhid Hindi na makaimik S a lumbay ng pag-ibig S a pagduyan mo, Hangin sa liko ko'y bumabalik Inaamo't tinutunaw ang galit Bigyang daan nag pagtangis S a dulo ng hikbi Luluwag din ang dibdib. O iduyan mo, O, iduyan mo, Kaluluwa kong natahimik Ngayon sa nawalang sidhi Nais kong maidlip Maidlip, maidlip Hirang, Lumilipad ang pag-iisip Sa huli, kalayaan ko sa 'yo Tuluyang nakamit, Hirang. - 3>-'Daidmhati ni Osang (Lament of Osang) Score in C Text and Music: Ma. Christine Muyco It- f.' ' » ' ' u $ j [ L i du gn mo _ A hi - rang 3 — z : _ z £=1 55 7 fe m ^ . — _ r> V bug re 1 i 3' i 'i 3f= s ^ S J;?Z 'KPfiting 'Bids(a little faster) ' / X A mm At i f -J. ft , ft-: 1 4 ^ T — • m o 3 (D 3 tn O < DO <D 0 3 • CT O ® QJ 3 to c tn . 2 C P S o O = O W 5 M O O CO 2. o § T T g 3" Q . CT C — £D = | | l a §• a 8 2 . 7 jg" -WW§ =r| erg 3 £ 3 < £ o ° o _ _ o- g —• Q_ — O -> o — o o = to =2. W Q CD I P w > ID CO CO > < 118 8 su o d 3 iai 0) T3 co M 0) cr eg CD < s ° 5 ** 3; ro^ ~ 3 0 3" 0 ro co T J ro ro C L i—* 3" ro 3 0) Q . ro ro 3 ' 3 ^ a 2. ro ro >< - i ~ o o o w o"2. 3 ro 03 O == ro - o ^ . O W T J T J S 3, O o - L o 0) O 3 C Q . ^ ro ro 3 1-5 -a si. 3. 3 " ro w CO o_ o 3 CO' o w < C L CD CO 5' cn ro o CD O C ^ " S> ro 3 CL • ro o cn - i co o TJ o> 3 O 3 C L ro H zr CD —* CD £0 CD »—* c T 3 £B 3 , W C T C © 3 IB 3* • C I -1, *• 12' w o 2 3 1 <3 5 3 2 ? 1 5 •1>! H -IN « as-(A Chamber Musical Drama) Mus ic :Ma.Chr is t ine Muyco Libretto: Angelo Barneses September -February 1998 Notes on the libretto: The story tries to explore the transformation of the conventional passive female into the empowered woman, emancipated from traditional, patriarchal norms and structures. Now conscious of her strength and reoriented psyche, she rises and takes the cudgels to battle the oppression and marginalization of her lot. It is a case of the oppressed grabbing the role of oppressor in order to infuse balance and harmony to a biased world-view regarding gender and an unfair male-dominated universal justice system. Synopsis: THE P R O L O G U E A chorus composed of death masks representing the artist's slain family members recites the prologue giving the audience an idea of what is to come. OPENING S C E N E (D A woman-sculptor suddenly vanishes from the city of her birth after being raped and her family being killed by a powerful patriarch. Hoping to find healing by dedicating herself fully to the cause and dictates of the creative muse, she retires to the serene and fertile mountains across the sea and builds an art sanctuary there. The years find her life to sublime artistic creation but frustratingly failing to erase the deep and violent stigma inflicted on her. The years of her solitary existence intensify a consuming passion to take revenge against the perpetrator. She decides that the only solution to her renewal is to take the path of violence and only upon seeing the head severed and the blood of the perpetrator flowing on the ground can her agitated soul rest in peace. In memory of her slain siblings, she sculpts a death mask for each of them. She also designs a stylized, gold crested rendition of a sword similar to the Muslims' kris that will ultimately be used to slay her tormentor. With this done, her ritualistic search begins. S C E N E 2 Her bloody intentions bring her back to the city which is in the midst of nocturnal revelry. Amidst the sound of drums, fireworks and drunken dancing, she stealthily stalks her prey. She finally finds him in the villa and she succeeds in cutting his head with her sword. She escapes through the dim-lit alleys of the city. On her way, she finds a child in tattered clothes about to collapse in hunger. She takes pity on her. Together with the severed head, she brings the child back to her sanctuary. S C E N E 3 Back to the mountains, she celebrates as she places the dismembered head in a specially reserved pedestal. Again she recites a ritual before she gorges her eyes and slits her wrists. While she lays dying, she hands over the sword to the child she brought along with her. EP ILOGUE A recitative from the chorus ends the story. -lot' The Text: PROLOGUE Chorus: Tonight A memory ignites an anguish And delights out muted tongues To sing again the songs forgotten The melodies of fire burning With its hallowed voices invoking The ghosts of her wanton ire. Tonight We crave for a resolution And seek redress for th e pain We pray her jagged sword will tame The unleashed sword will whip, Those screaming refrains Of our souls unbreathing. Tonight Let Death brandish his sickle unrestrained So the caring angels can lend their ears To our wounded words, frozen In a cesspool of lifeless blood. Tonight Let it be that our frothing tears Water the seeds of mutiny Of beauty revolting feverishly In the deepest heartlands O avenging desire. •Let the lucid moon resist to rise Tonight. SCENE ONE SCENE TWO Woman: How swiftly the night surrenders Helplessly, to the wicked ways of day In darkest silk my eyes I veil Not to see descending To perpetuate her indecent stare Undressing the loins of a dying land Fresh with scars from rusty spears Smelted in cowardly blood Fords his banal fears. Blind my eyes from the deceiving light Cradle me in breasts of sensuous night Let her caressing quiet uncover A power that will give me might. Now morning reborn and I am broken Let sunlight tell how I mourn the leaving Of a father, a mother, a sister, and a newborn boy Let daylight confess how I weep my dying. I ,the whore, the patriarch's favorite score No more! no more! I cry no more! I refuse to gaze at that evil face And its trillion mangling tentacles Scheming to ravish me some more I will fight with sword and might I will seethe behind the soot of lamplight I, the whore, turned warrior will settle the score Seething, screaming, seething, screaming Till the head of that omnipotent monster Will steer no more Will drool no more. Chorus: Such defined insolence we surrender now To the great divine Our voices are a discordant mess We close our eyes and hope to slumber Over this impetuous hour We muffle our ears to deny the sound Of Death bells incessant ringing. If this madness be granted, let it be But let it be swift And final. Woman: I come alone, a stranger From the outskirts of a city I couldn't call my own A ghost with a name Long forgotten like the others Who shared the fate, I pass through the portals unseen I come with a bag full of hatred Which I will sow before the restless night time ends. An unwanted guest I shall roam every street Every filthy cranny With a dutiful scorn Until I have reach that bend Where evil reigns. Notes on the music: Score in C except for the Glockenspiel(sounding 2 8ves up) and the Crotales (8ve up). Instrumentation is as follows— Grand/Baby Grand Piano; Alto Flute; Percussions: (Player 1 )--Crotales; Suspended Cymbal; Triangle; Vibraphone (provide Cello or Bass bow); Glockenspiel; Maracas. (Player 2)--Wood Blocks; Tomtoms; Bass Drum; Temple Blocks; Timpani ( g . ); Glockenspiel; Crotales; Bongos, Maracas. Player 1 and 2 may share Crotales, Glockenspiel and Maracas. Chorus: Voice 1-Soprano 2- Alto 3-Tenor 4- Bass Soloist: Soprano Rendition of Symbols As fast as possible The shortest duration 7 (do not consider the value of the next note; just play the grace note fast) ' Continue or repeat boxed notes f As the boxed notes are repeated, play lightly the grace notes No specific pitch (may approximate levels of intonation from the given contour of lines on the staff) White key cluster Black key cluster Combination of black and white key cluster Cue note where to begin the cluster «+t. L I Accelerate Ritard In!111111 I Highest note possible t Lowest note possible Straight slide Contour slide (up and down or whatever direction the line indicates) ' ^ " ^ f Pitch bend or moving the pitch according to the direction of the line To be played/sung within an approximate number of seconds Rest within an indicated number of seconds 3" 5" or PROLOGUE A chorus of death masks foretelling the anguish and terrors of that night. 85 S i (whljptf lajdlt))— — i — r +g +0.1 « . _ font lib') 3 i ' flour ^1 t^iirlhr- ~ Death awflitfc life 15 Life for -'5 hi5 1 it <Hqll btr=-l.ffi lift fe£=u5= it shall" bi. mi 6 0 V6IC4 1 3 V. 4 3s IF 4i. -*—r 4 3 4 ± 3t 5 A, PI. P«r. £ .1 9 hat 1 Wood Blcc*> 4-7 Voi t ( rl — — i / r r JTO^b ^ = * * J L -I I u-*^, ft A' Fl. M S 5 - J r ' > ^ my E»fc - f - ! I1 A-Fl . P#r-1 O u r m c m O r i ) i ^ " 1 ^ . ! ! I' \ »•^ r-.f3•/r<f•c• r4rr l ? a n d ' jW^wnrtntf 3 5*5 Ifv; Hfffto- ^ f""u; m ^4: r f y ^ ^ f r wrn.«i.ir7-! 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