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five pieces sextet through the sharp hawthorn only connect in principio miscellaneous concertino three pieces for two pianos four archetypes petrochemicals copenhagen ambience hello histrionica telephony many worlds 127 haiku 128 haiku triggered touching sound 127 messages
calder's violin fluxus fluxus tree player piano three streams quantum canticorum december variations december mobile semaphore piano glyphs how to play the piano choreograms edge violations homage unthinking not songs graffiti
devices: gaggle gagglina wired threads glyphs metapiano digiphone
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One Hundred and Twenty-Eight Haiku is based on two developments from 2009: the generative composition/performance One Hundred and Twenty-Seven Haiku and the hardware and software performance tool Gaggle. These two items are joined by two other newly developed experimental devices: Touchtree and Gagglina, and these items are amalgamated into a performance which is in turn improvised, composed and automatically generated. Richard HOADLEY has as a composer in recent years focused on the investigation of the use of technology in the compositional process: the nature of indeterminacy in music and its aesthetic and philosophical ramifications, and the effect of the interface in different forms on the creative process. rhoadley.net
Photo courtesy of Tim Regan
The Generator was originally designed and copyrighted by AHA! Software Inc., Victoria, BC, Canada.
One plan is to display the haikus while the piece is being performed, ad libitum. It's possible that I'll try to find a way for the haikus to actually influence the performance of the piece. But let me deal with the piece first...