I wished to express the prominent emotions within the storyline – sorrow, frustration, love and futile hope. The soundscape was constructed using recordings of live instruments and sampled sound effects to maintain a sense of realism for the listener. The score was composed for chamber orchestra as I felt it better reflected the tone of the piece, and allowed more musical character to be expressed through individual instruments. Techniques including snap pizz, bowed harp and col legno were incorporated. I fused vocal techniques from Western gospel, Japanese folk and classical music as I wanted to create an identifiable, precise singing style. The vocal lines are heavily melismatic, enhanced by yodelled notes, trills, turns, varying vibrato and kibushi (Japanese Enka vocal trill conveying sadness). Overlapping choral parts allowed for the inclusion of more words in a shorter time and emphasised feelings of claustrophobia and confusion amongst the ‘refugees’. I performed all vocals (male lead, female lead and chorus) as I was unable to find singers due to time constraints.
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