The Fairy Songs: A Theater Piece for Voice, Electronics, Lighting, and Theatrical Components

Abstract

The Fairy Songs is a theatrical composition written for voice, fixed media, live electronics, and auxiliary percussion presented as a frame for collaboration with some form of visual or performative media. The text is derived from William Shakespeare’s The Tempest, specifically the pair of songs in Act I, scene ii sung by the spirit, Ariel. The piece is divided into six (6) movements in an arching mirror structure: an electronic prelude and postlude, two vocal pieces, and two electroacoustic songs using the texts “Come unto these yellow sands,” and “Full fathom five.” Each movement is designed around a color scheme of lighting which, when working with a collaborator, should be reflected in the stage presentation whether it be through dance, film, poetry, prose, photography, or other future visual media.

The singer, essentially playing the role of Ariel, is meant to be disembodied; their voice akin to a ghost-like presence in the auditorium. Likewise, the identity of the singer is meant to be gender-ambiguous, reflecting the gender ambiguity of the character, Ariel, in The Tempest. The voice type is purposely left vague to give the impression that it could be performed by a high male or any number of female voice types.

There are various musical styles used throughout the work: the outer movements are morphological and minimalistic; the middle movements are more spatial; inner-most movements are melodic and folk-like. This is meant to reflect the overall musical nature of the character as they are portrayed in the play. (Ariel has a total of four songs in the play, two of which are used in this work.)