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Beams and Waves is a work based on the architecture of the Tree of Knowledge memorial in Barcaldine, Queensland.
The memorial is constructed of 3,449 beams of wood suspended on the inside of a large box surrounding the tree. Waveforms created by the beams being suspended at different lengths show the negative space of where the branches would have stretched out were the tree still alive.
Different perspectives on the architecture offer different visual experiences. From the outside, the beams appear to be phasing in and out of each other. From the inside, the waves and negative space can be viewed in their full glory. Looking down, the view becomes kaleidoscopic where the reflection of the beams can be seen in conjunction with the roots of the tree underneath the patterned glass.
Beams and Waves explores these perspectives and renders them as sonic structures, jutting themes and rhythmic grooves. Expressive melodies recall the branches of the tree, stretching out amongst the architecture.
Isabella Gerometta on Beams and Waves (2018)
Learn more about Beams and Waves and Isabella's creative process and challenges.
- What inspired you to compose your piece specifically on?
Barcaldine is the home of the Tree of Knowledge, a heritage listed ghost gum under which the workers of the 1891 Shearers Strike met, which was poisoned and killed in 2006. In response, a giant memorial consisting of beams of wood suspended from a box was created which fills the negative space around the tree’s branches as if they were in full bloom. If you’re a sighted person within a kilometre of the town, you can’t miss it.
My piece ‘Beams and Waves’ is based off this architecture.
- How would you describe your creative process?
Probably like any other composer, I find something I like and work with it. In this case I drew it from the architecture of the monument, finding music and gestures that mimicked different viewpoints of the box - outside, far away, from above and below.
Logistically, I’m on a bed, couch or beanbag with a piano nearby. Either anime or Twitch on in the background. I can’t look at computer screens for too long or I get headaches even with a blue light filter and no external stimuli - I try to use manuscript paper as much as possible, but sometimes I go for it on software if I can. I prefer to compose at night, for as much of the night as possible. I have a Toxtricity plush who constantly accompanies me while I compose, for company.
- What would you consider the most challenging aspect of creating your piece?
For this particular piece, the beginning of and the title were probably the two most difficult elements. The first few things I wrote for both felt too cringey. Eventually I found a cool rhythmic element I could use at the beginning to make it exciting and anticipatory, and ‘Beams and Waves’ was an intriguing title without any pretensions.
- What would you like your listeners to take away from your piece?
Whatever they’d like. I’m not one to tell people what to think. I guess I can say that when I listen to it, mentally I’m back in Barcaldine under the shade of that monument entranced by the beams dangling with a slight sway in a hot breeze. Since it’s a monument and piece that links architecture with a significant historical moment and a once living thing, there are less and more sentimental perspectives than mine, but everyone should make up each of their own minds. It’s more fun that way.
