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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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