Text, including the two scores - Columbia University Department of ...

y retrieving detailed lists of directions, could execute more complex and well-timed behaviors than a human with a mere two hands. Perhaps most importantly, I wished to step back and experience the work (without the absorbing tasks of making my computer part not crash). These reasons for that,
a computer performer are very similar to my those that have led me to avoid live audio processing (i.e. having a microphone or pickup on instruments, and having their signal manipulated via computer in real time). My previous works had made me concerned and frustrated with the technical removing
of live sound input, especially for multiple instruments within the same space. I still compose for solo instrument and live electronics; but unpredictability
of using live processing for ensembles, I now tend to ‘cheat’ by quickly triggering many short pre-manipulated audio samples. This has the dual benefit of removing the need for a computer performer/operator, and of the computer itself, which can be replaced by a simpler (and more reliable) instead
sampler. My hopes were that the vagaries and richness of a real acoustic ensemble sound could supply enough aural variability to partially camouflage the static quality of digitally reproduced samples. In order to completely transfer the audio electronics to an on-stage hardware
I needed a controller for a generally-trained musician to trigger sound samples quickly and in rhythm with the ensemble. While more control performer,
are available on a keyboard-based controller (often with additional knobs/faders), I preferred the simplicity and visceral obviousness of percussion sample pad. A criticism of electronic music is that the physical performance motions (or relative lack thereof) do not imply the aural result in
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