Perceptions of Gaia (2008)
For Percussion Ensemble [Glockenspiel, Xylophone, Vibraphone, Marimba (4 .5 octave), Marimba (5 octave), and Drum Kit] with Solo Tenor Sax
“Perceptions of Gaia” is inspired by the Gaia hypothesis, first published by James Lovelock in the 1970’s. His hypothesis proposes that all the living and non-living parts of our planet (no matter how diverse or reactive) not only co-exist, but actually regulate and stabilize one another, forming an elaborate system that can be thought of as a single living organism (Gaia).
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Through its use of pitch, rhythm, and musical influences, “Perceptions of Gaia” embodies that theme of “reactive-yet-interconnected”. It is a head-first dive into a world of diverse forms of communication (both musical and otherwise) that appear clashing up close, but co-exist beautifully on a larger level. Drawing from rock, minimalism, jazz, African drumming, and Indian classical music, the piece creates striking juxtapositions as well as surprising connections. The use of Indian sollukattu brings the piece a wealth of timbral possibilities as well as providing symbolism for verbal communication. In the realm of pitch, the saxophone’s tonal melody spends most of the piece battling against the dissonant, biting percussion ostinatos only to later be revealed in a calmer, tonal setting. As for rhythm, the constant conflict of poly-meter is kept in check through the common pulse of the eighth-note; this ever-present entity weaves throughout the piece and unites the metric realms.
There is one other form of communication present in this piece, though it is far subtler than the others. The rhythmic gesture first introduced by the glockenspiel, triangle, vibraphone, and tenor saxophone during letters A to B is actually an elongated message in morse code. Encapsulating the spirit of “Perceptions of Gaia”, the morse code relays the message “All are one.”