Composition Process: The "Bullroarer" Rite [BoMoH]

As I delve deeper and deeper into the process of converting a complex, but segmented, narrative into an interesting, multi-movement, multi-media, chamber opera; I find that each conceptual signpost requires a very different musical manifestation. In these movements the characterisation, cultural representation, and narrative components do not connect to form a linear structure and instead form a series of unique mood-pieces that seek to abstract a conceptual, atmospheric, or perhaps emotive exploration of each 'act/scene' of the story.  

So far, none of the component compositions of this large work have addressed the aesthetic qualities of animism, shamanism and the occult-like charms and fetishes of the Bomoh. While the 'trance dance' may be an example of a character development/focus for the protagonist, the 'Bullroarer' rite will function as a window into the mystic practices of the Bomoh, a supposition of the secrets of the medicine mans hut. The storytellers (from the podcast interviews) explain to us that the Bomoh was of the Aboriginal past of the Malayan penninsula, his people were known as the Boyanese.

Some information about the Bawean can be found here: http://www.ghettosingapore.com/the-boyanese-in-singapore/      

Within the secrecy of a dying culture, mysticism and myth abound to fill the missing detail with legend. Therefore, in order to represent the culture of the Bomoh, in a tangible way, it will be important to use the musical equivalent of "stock" images: musical/sonic/artistic/cultural symbols that conjure a communicable notion of paganism, shamanism, aboriginality and the ritual occult. These musical achetypes will be required in order to produce the atmosphere and theatricality that this multi-media opera requires.

Of these musical symbols that suggest notions of paganism. The "Bullroarer" is an ancient soundmaking of uncertain origin. It was certainly used by the native peoples of the Oceanic continent, and still is. Instruments like these, that may have been tools or weapons before being applied as a sound/communication device, are the types of performance materials that would have been used for communication with the spirit world. A sequence of performance instructions, utelising instruments such as the 'bull roarer', will comprise the structure of this composition.

A bullroarer demonstration (;)): https://www.youtube.com/watch?v=3Kf_RYVt2XQ

In keeping with the over-arching thesis abstract of combining traditional and new media elements in composition, it may be interesting to juxtapose the communicable functionality of the bullroarer, other object, and other object, with sonic objects and data that represents more contemporary modes of communication. Examples may include samples of ring-tones, SMS alert-tones, and sonicised data extracted from social media mircoblogs.

Some of this accompanying electronic material could be controlled by the action of the bullroarer itself, using an accelerometer device, like an arduino card, or a wii-remote.