![]() ![]() We’re following each other in performance, matching sounds and gestures, letting the music unfold as the result of that mutually influential process. It’s as if I’m conducting an improvising orchestra which is accompanying an improvising soloist. At the same time, I’m following what he does. In performance, I’m sitting at a computer, manipulating screen objects to control a synthesizer. ![]() A Touch of Africa, in fact, was composed in Bruno’s studio near Zurich. I’ve also played these pieces in Europe with Bruno Spoerri and Reto Weber. Many Mornings, Many Moods, for example, was at first a concerto for solo percussion, orchestra and electronics, commissioned by the National Endowment for the Arts and premiered by Jan Williams and the Buffalo Philharmonic Orchestra at the North American New Music Festival in 1988. I’ve played these pieces with Jan many times, in many places, and in many versions. To achieve that effect, I created a sound palette in which many of the electronically-generated sounds so closely resemble the acoustic percussion sounds that sometimes it’s hard to know whether a sound is acoustically or electronically produced. My idea was that Jan’s playing would be enlarged and extended in its sounds if both acoustic and electronic sounds seemed to be coming from the same instrument. The collection was originally intended to provide the music for a solo concert to be played by Jan Williams. The songs provided a starting point, a way of thinking about the music, and a lyrical surface to an underlying complexity. Several of the pieces are abstractions of jazz classics, sometimes recognizable, sometimes not. For software, I used a Macintosh computer running M, an interactive composing and performing program developed at Intelligent Music by David Zicarelli and others in the company.Īfter Some Songs, composed between 19, is a collection of short improvisational pieces for electronic sounds and percussion and occasionally other instruments. And, looking for easily portable equipment, I used a Yamaha synthesizer. I formed Intelligent Music, a software company. ![]() In the early 1980s, MIDI emerged as a global standard for equipment and software. Many Mornings Many Moods (In a Sentimental Mood) Īs we entered the 1980s and 1990s, lighter and less expensive synthesizers, table-top computers, and a variety of software companies began to dominate the electronic music marketplace. MP3 to MIDI Remixes are MP3 audio files that have been converted into MIDI format, which typically results in a poorly-remixed version of the song where all. ![]()
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