Browsing by Author "Arauco, Ingrid"

Now showing 1 - 8 of 8
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    Dreamlike For Viola, Piano, and Vibraphone
    (2022) Yea Seong, Maria; Arauco, Ingrid
    Like the title "Dreamlike" implies, this composition is meant to evoke one's state of mind throughout a dream. The first movement plays like process music, evoking one's recollection of a vague memory of what one has dreamt, often associated with the feeling of time stretching while accented by moments of clarity and disorientation. I analogize this feeling with the title "In the Opaque Clouds." The first movement does not simply end, but rather transitions into the second movement titled "Into the Clear Ether," similar to how dreams may change scenes without our awareness. As this movement explores the unique timbres of the instruments and establishes an altered soundscape, the dream morphs and dilates time further until the end where one fades into the world of waking.
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    "Franny: A Musical" for Two Voices and Piano
    (2023) Hsiang, Emily; Arauco, Ingrid
    “Franny: A Musical” is a one-act, twenty-minute musical written for two voices and piano, originally performed by Aviana Rivera ("Franny"), Joseph Correale ("Lane"), and Ting Ting Wong (piano). Based on J.D. Sallinger’s short story, “Franny” from his novella Franny and Zooey (1961), this new musical theater composition follows the changing romantic relationship of Franny and Lane over one tumultuous weekend visit.
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    Quartet No. 1 for two violins and two cellos
    (2020) Boyce, Seth; Arauco, Ingrid
    A four-movement original piece composed for two violins and two cellos. The movements are each inspired by sections of text from the Requiem mass.
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    The Voices: Five Songs for Mezzo-Soprano and Piano
    (2014) Abaya, Miriam; Arauco, Ingrid
    "The Voices" is a German song cycle for mezzo-soprano and piano. I found a set of poems by Rainer Maria Rilke whose haunting stories and imagery captivated me. "The Voices" contains one introductory poem and nine other poems that are songs of the destitute. Rilke wrote the poems as songs for many suffering people whose voices are rarely heard in society. I was inspired to set five of these poems to music.
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    Three Movements for String Quartet
    (2012) Colvson, Jonathan; Arauco, Ingrid
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    Three Psalms
    (2017) Emmert, Mason; Arauco, Ingrid
    The impetus for this work was research into the various types and functions of psalms from a textual perspective; how do they function as poetry, rather than as liturgy? Unsurprisingly, there is a good deal of scholarship on this subject, often categorizing psalms based on their subjects. In particular, this work focuses on Psalm 66 (functioning both as a Hymn of Praise and a Hymn of Thanksgiving), Psalm 12 (a Community Lament), and Psalm 120 (an Individual Lament). I had several goals from the beginning of the compositional process. First, I wanted to pay homage to the tradition of harmonized chant; the second movement does this with a contemporary harmonic flavor. Second, I wanted my third movement to reflect my admiration of Renaissance counterpoint; an individual lament needed parts that could function with melodic independence while also working together. Finally, I knew that the composition needed to be, simply, enjoyable. I, like many others, have a complex relationship with Christianity and with religion, but singing both sacred and secular music has always made me happy. From the start, I wanted the composition of the piece to reflect this pleasure and be musically and aesthetically satisfying independently of the words. Music should appeal to our most basic senses; it should not address primarily those individuals who can grasp its complexities. I hope that the music I have written will illuminate the texts for those who engage with them but will nevertheless provide excitement and joy for those who do not.
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    Vespers
    (2014) Walter, Micah John; Arauco, Ingrid
    Vespers is unmistakably inspired by liturgy. The title alone simply denotes an evening service of prayer; in this case, the text and structure are drawn from an Eastern-rite vespers service. On the other hand, I wished to write a work that would stand on its own, performed outside of a liturgical context. These two factors--a love for liturgical music and a desire to write a concert work--influenced my choice of Vespers as the service to set. Rather than composing a setting of the Mass or Divine Liturgy, each a central eucharistic celebration, I chose to set a service of a quieter and more contemplative nature. Of a different character from the celebratory eucharistic services, Vespers emphasizes petitions for mercy as well as a sense of quiet assurance. I think of Vespers, then, as primarily a concert work (rather than a liturgical work) reflecting these qualities--albeit one that retains most of the form of its liturgical source, and which as a result could feasibly be adapted to use in worship. Vespers is written for mixed choir with soloists and lasts approximately 54 minutes. The work's premiere performance was at Haverford College on April 7, 2014.
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    Who Speaks for the Gods?: For Baritone and Piano
    (2014) Burke, Andrew; Arauco, Ingrid
    Who Speaks for the Gods? is a song cycle based on a course I took as a student at Millsaps College with Dr. James E. Bowley. The class dealt with the issue of interpreting ancient religious texts and how different religious extremist groups throughout history have validated their severe social agendas by using these texts according to their own interpretations. In this sort of process, the original message of the text can become quite adulterated or distorted. I attempt to explore these same issues by using the song cycle in a novel way. Specifically, I focus on the Westboro Baptist Church (WBC). In my piece, each song's text is composed of passages from the Bible that the WBC has used to legitimize one of their claims. Thus, each song represents one of their infamous picket signs. The Biblical text is presented in Latin so that the listener cannot readily comprehend the message. This emphasizes the text's vulnerability to subjective interpretation. In keeping with this concept of misrepresentation and misinterpretation, the "mistakes" in the text setting are actually intentional. At times, the text is misaligned so that the stress does not fall on a strong beat. The motivation behind this choice was to allow the text itself to feel misunderstood or distorted. As a musical vehicle for these texts, I seek to reflect the nature of the distortion at play in the religious message by taking inspiration from traditional, mainstream religious music constructions and twisting them in harmony, rhythm, and structure. The music also seeks to evoke pain, isolation, joy, confusion, and other psychological and emotional complexities that seem to exist with members of the WBC. The performance of the piece must incorporate visuals to enhance the experience. For each piece, there will be a projection or representation of the corresponding picket sign used by WBC members (i.e. "God Hates Fags," "God Hates Islam," etc).