Great White

2019-08-13T07:02:52Z (GMT) by Cat Hope
for two sustaining instruments and (or electronic performers)

For Georg Hajdu 2016
Premiered at Hochschule fur Music und Theatre, Hamburg, November 2016.
Spectrum Project Space, WA ''Shock of the New" march, 2017

Each acoustic instrument chooses a colour from pink and orange. They follow this colour for the whole piece. The top line is the highest point, the bottom is the lowest. When the line gets thicker, they dynamic and density should increase. When the line is opaque, the tone should get thinner and softer. Dots are pizzicato or short notes. The performers should feel free to take contours and pitches from the grey notation when it appears beneath. The five sections of grey music notation are to be ‘interpreted’ by electronic musicians, using Gerog Hajdu's environment, who may use the ‘adjusted’ midi files available here if they wish.

The title ‘Great White’ refers to the great white dead men of music history and women’s struggle to find a place in that history. It is also a sideways reference to the rare species of shark that is hunted in the composers’ home state, and the hierarchy of traditional and graphic notations. Each music manuscript excerpt is from an important composer that spent time in Hamburg, Germany, where the piece was composed. The acoustic instruments interface with the music excepts (already being altered by the electronic performers) firstly by overlaying without any impact on the work, then tracing, then becoming increasingly ‘interfering’ - eventually blocking out most of the music score and concluding with general confusion and a ‘free for all’.

The piece was composed during a DAAD/Universities Australia sponsored research collaboration with academics at HfMT in Hamburg, Germany.

The score should be read in the Decibel ScorePlayer app on an iPad, but can also be read as a video score. The piece is eight minutes long, and has an audio file embedded which should also be mixed in with the electronic performers parts.