1.
Introduction
2. The Musical Environment
3. Loudness and Dynamics
4. Crescendo and Diminuendo
5. Sound Envelopes
6. Foreground - Background
7. Listening Structures
8. Notating Sounds
9. The Listening Space
10. Radio Composition
11. The Design Team
Richard Vella
Jon Drummond
Greg White
Raffæle Marcellino
Kari Hanet
Leigh Hobba
Greg White is a freelance creative musician developing software for live and studio multimedia environments. He has been a professional musician since 1973 and a freelance composer, recording producer and programmer since 1985, working in live performance, recording, film, television, theatre and multimedia.
Greg has designed and presented courses in music composition and multimedia at the Sydney Conservatorium of Music, the Australian Film Television and Radio School, Macquarie University and the University of NSW. In 1994 he was Director of the Electronic Music Studios at the Sydney Conservatorium of Music, and has held Composer-in-Residence positions with the University of NSW (1991), Youth Music Australia's "New Music Now" projects (1993/94) and the Australian Film Television and Radio School (1995).
Greg's live performance has always explored technology - analogue in the 1970s with "Plash" (flautist Jim Denley /percussionist Peter Ready); digital in the 1980s with "Orison" (sitar/keyboardist Peter Schaefer/ percussionist Keith Manning); interactive multimedia in the 1990s with "austraLYSIS" (keyboardist Roger Dean/saxophonist Sandy Evans/performance poet Hazel Smith). In late 1996, "austraLYSIS" toured England, performing at the Huddersfield Contemporary Music Festival and recording a program of music for BBC broadcast.
His composition commissions have also involved interactive technology. In Sound Scrolls (1996) music notation is generated live for the performers to sight-read (each with their own screen). The Glass Bead Game (1995) is a system for improvisation with a computer. The Silence of Eyes (1994) projects text as it is typed by the performer (who is also independently speaking the text) in a computer generated soundworld. Orchid (1994) has a clarinettist control the computer-generated accompaniment by manipulating footpedals as notated in the score.
Other compositions include music for the short films Freestyle (Clerement-Ferrand Festival du Court Metrage, 1997) and Balloon Girl, the theme and incidental music for the SBS series Second Opinion, music for the Theatre of Image production of The Carnival of the Animals (with Raffaele Marcellino) at the Sydney Theatre Company.
Greg has worked as a music producer /engineer on 7 feature films (including Dead Heart starring Brian Brown/Ernie Dingo, Traps directed by Pauline Chan, and the 1919 Serge Largerlof film Korkarlen) 2 television series (ABC's Naked and Channel 10 Big Sky), countless television commercials (including NRMA Help, QANTAS), countless theatre productions (including all Calculated Risks Opera Productions projects, Trackers of Oxyrhyncus/ Sydney Theatre Company and Cockroach Opera/Belvoir) and countless CDs (including Diagonal Flyng/Roger Woodward, The Enchanted Forest/James Galway and Mary/ best soundtrack album, 1995 Screen Composers Awards).
Several multimedia projects involving Greg's creative skills as composer, sound designer and programmer are currently in progress. An interactive sound installation project funded by a Hybrid Arts Grant, an educational software prototype funded by the CAUT Organisation and a CD-ROM project funded by the Australian Film Commission.
Email (gwhite@curie.dialix.com.au)