The Last Hive Mind - 2021 Grade 4 Version)

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COMPOSER’S NOTE The Last Hive Mind was originally written for conductor Glen Adsit and the Foot in the Door Ensemble at the Hartt School. Inspired by the British TV series, Black Mirror, and the general idea of recent increasing debate around artificial intelligence and how it will affect our daily lives as human beings. I put some of my thoughts, perspectives, and imagination into this work. Thanks to Glen for coming up with the dynamic and matching title — it also helped in the shaping of how musical narrative navigates its way throughout. Mainly, I was struck by the idea in one episode of "Black Mirror," the "Metalhead." After the unexplained collapse of human society, a group of people tried to flee from the robotic "dogs," a vast hive mind with metal built bodies and powerful computerized "brains." The failure was almost predictable. However, a detail that struck me the most was the reason that these human beings got trapped in the crazy chase was because of their effort of searching a comforting gift for a very sick child — a fluffy teddy bear. In The Last Hive Mind, two forces fight with each other — the robotic, rhythmic, seemingly unbreakable "hive mind" music, versus the dreamy, melodic, and warm "lullaby" tune. Lastly, presented by the piano, the "lullaby" music is also a quote from my mini piano concerto, Canton Snowstorm. As the title indicates, this work depicts the struggle between the artificial intelligence, or the hive mind, and the dimming humanity; furthermore, the work implies the final collapse and breakdown of the last hive mind followed by its triumph. Shuying Li October 2021
PERFORMANCE NOTES • All trills are half step unless specifically noted; • Unless specifically noted by numbers, all single notes in clarinets, trumpets, and trombones (in score) are indicated for both parts (in unison). • Conductor Note about Measures 145-156 The conductor should continue to conduct each measure and the performers should play the pitches with irregular rhythms that do not coordinate with one another. Bar lines are only suggestions and not restrictions of what should be played within each measure. Performers should continue playing through each measure stopping in the measure with the arrow. The conductor should use the numbering system in one hand (on beat one of every measure) to indicate where the performers stop and where others begin as explained below. Measure 152 #1 Bassoon 2, Baritone Saxophone, Trumpets 1-3, Xylophone all stop playing on the fourth beat Measure 153 #2 Piccolo, Flue 2, Clarinets 2-3, Bass Clarinet, Alto Saxophone 1, Trombones 1-3, Euphonium, Tuba, all stop playing on the fourth beat Measure 154 #3 Piano begins playing Oboe 2, Clarinet 1, Bassoon 1, Horns 1 & 2 all stop playing on the fourth beat Measure 155 #4 Oboe 1, Alto Saxophone 2 all stop playing on the fourth beat Triangles, Wind Chimes begin playing near beat 2 Measure 156 #5 Flute 1, Tenor Saxophone all stop playing on the fourth beat The Conductor slows down from quarter note equals 144 to quarter note equals 72 from measures 151-158.
Page 1 and 2: SHUYING LI For Wind Ensemble (2021)
Page 3: Published by SHUYING LI MUSIC © Co

The Last Hive Mind - 2021 Grade 4 Version)

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