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received from chris brown on aug 16 1995 copyright 201w
HofM '93 midigrand notes
HALL OF MIRRORS explores the interaction between a pianist
and the live electronic processing of piano sounds, in which
the pitch, loudness, and rhythms control various qualities
of the electronics.
I am particularly interested in this situation for the
interactive performer: a physical gesture has both
acoustic and electronic responses, a changing multiplicity
of meaning. The MIDI signals from the piano control complex
patches of parameters created for three different MIDI
controlled reverberators. Sometimes this control is direct,
where one key always selects the same electronic response;
but more often the response depends on a combination of key
and velocity information, and also on the recent history of
keyboard activity.
The modulations are thus multiple, reflected images of the
sounds from the acoustic instrument itself, and the nature
of their distortions extends entirely from information
generated by their performance. I explore the acoustic
territory that these relationships determine like rooms,
looking for resonances, lingering patiently, trying to allow
the hybrid instrument itself to lead the music. There is
also, at the outset [a] tune, whose melodic, harmonic, and
rhythmic framework are used as materials in the ensuing
improvisations.
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