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

and to more complex shifting between shapes as voices fade in and out. With the electronic sound and visuals fully synced, I essentially treated each piano-pad pair as one unit and had it waver between two extremities in its together,
to the piano material. One is a highlighting or reduction of the denser piano material (usually by mirroring a particular subset of pitches from the piano). With this strategy, the electronics emphasize certain tones externally; the piano figures may sound uncentered or unhierarchical (even relationship
their underlying progressions generated via the Vertex process), and so by highlighting certain pitches I attempt to bring out a hierarchy that grounds the with
material to these electronically articulated tonal pillars. Conversely, the other relational extreme takes the electronic sound (typically samples of inharmonic sounds), and has the piano material reinforce the prominent frequency components. To define these poles crudely, the first relationship has piano
as a reinforcing data reduction of the piano lines, while the second reverses this flow by having the piano as a reinforcing data reduction of the electronics. These are obviously porous definitions, and the piece both wavers between these relationships, and occasionally operates with elements of both electronics
the same time. at
primary pre-compositional task, in addition to generating raw note material through the Vertex process (described in section 1.1), was to build the software synth modules that would create the electronic sound and the visual 3D shape. These were made from a list of simple sound sources and properties:
The
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