FULL SHUYINGSCORELI THE LAST HIVE MIND FOR WIND ENSEMBLE S H U Y I N G L I M U S I C
Dedicated to Glen Adsit Published by SHUYING LI MUSIC © Copyright 2021 Shuying Li
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.
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.
Shuying Li October 2021
Conductor Note about Measures 145-156
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
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.
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 154 #3
PERFORMANCE NOTES
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• Unless specifically noted by numbers, all single notes in clarinets, trumpets, and trombones (in score) are indicated for both parts (in unison).
All trills are half step unless specifically noted;
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.
INSTRUMENTATION Piccolo 2 Flutes 2 Oboes 3 Clarinets in Bb Bass Clarinet in Bb 2 Bassoons 2 Alto TenorSaxophonesSaxophoneBaritoneSaxophone 3 Trumpets in Bb 2 Horns in F 3 Tenor TubaEuphoniumTrombonesPianoPercussion1:Drum set, 2-4 triangles in different sizes. Percussion 2: Anvil, Drums (2 Tom-toms, Snare Drum, Bass Drum), Crash Cymbals, Wind Chines, Triangles Percussion 3: Xylophone, Suspended Cymbals, Vibraphone, Triangles Drum set notation (for both Percussion 1 & 2) Duration: ca. 5 minutes Transposed Score
