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The Well of Fancy Dry
Second, I wanted the combination of flute and electronics to defy accepted notions of space. Just as your depth perception relies on having two eyes, it's commonly accepted that biaural hearing allows you to place sounds in space. My presumption here is that having two ears only confuses matters, and makes locating the flute's spatial placement that much more of a challenge.
In performance, the sound of the flute always activates the electronics (pay no attention to the wo/man behind the curtain, s/he's just babysitting the equipment.) In the first movement, the flute's sound is divided into three registers (high, middle, & low), percussive sounds, and soft sounds. Each of these is processed separately. The contrapuntal lines are algorithmically generated in the next two movements. In the second, the flute plays against recordings of itself. The computer listens for hints of phrases to record and later reassembles these fragments into new lines. The final movement uses a synthesized resonant model of a tubular bell to construct a gamelan-like accompaniment.