NOMINATION: Performance of the Year - Notated Composition
For the performance of a single Australian work, showcasing the performer(s)’ success in revealing the nature and intention of a composition with clear notated instructions for the performer. Works with significant improvisatory aspects should instead be submitted for Performance of the Year: Jazz / Improvised Music.
A work is defined as a single complete musical composition, or expression. This includes music with movements or sub-works (i.e. song cycles), installations, and real-time compositions (improvised music).
If you believe your performance to be nominated in the wrong category or the details of your nomination to be incorrect, please contact the AMC via email at awards@australianmusiccentre.com.au before proceeding with the nomination.
Art Music Award guidelines →
Nominee
Jayson Gillham
Nominee email
jayson@jaysongillham.com
Title of the work
Witness
Composer(s) of the work
Connor D'Netto
Performance Date
27/8/2024
Venue
Witness (self-published)
Nominator Statement
On the back of a highly-publicised premiere performance in Melbourne, Connor D'Netto and Jayson Gillham released a recording of D'Netto's 'Witness'.
In a statement about the work, the composer refers to the experience of witnessing global violence and injustice through social media and the responsibility of "bearing witness" to it.
Jayson's performance of the piece deftly reflects Connor's compositional voice, but also accurately conveys the heightened emotional and cognitive dissonance of "beating witness" or "doomscrolling" as a uniquely contemporary and, frankly, privileged experience of being a voyeur to these terrors.
Nominee
Jayson Gillham
Nominee email
jayson@jaysongillham.com
Title of the work
Witness
Composer(s) of the work
Connor D'Netto
Performance Date
27/8/2024
Venue
Witness (self-published)
In a statement about the work, the composer refers to the experience of witnessing global violence and injustice through social media and the responsibility of "bearing witness" to it.
Jayson's performance of the piece deftly reflects Connor's compositional voice, but also accurately conveys the heightened emotional and cognitive dissonance of "beating witness" or "doomscrolling" as a uniquely contemporary and, frankly, privileged experience of being a voyeur to these terrors.