I have long explored the world of percussion through touch, revealing marvelous and hidden sound worlds in simple objects. This collection shows my lifelong passion of bringing such new works to light. A number of these pieces have lived with me since my graduate days, others are recent commissions, but all have expanded my musical horizons in extraordinary ways. Now by extending the world of physical percussion with virtual computer objects and processes, I am excited to enter new sonic and mental territories in the company of these many remarkable composers. www.patticudd.com
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about
Music for Hi-Hat and Computer (Cort Lippe, 1998) was commissioned by the American percussionist J. Landy Cosgrove, and premiered in Denmark in March of 1998. The electronic part was created at the Hiller Computer Music Studios of the University at Buffalo, New York using the software Max-ISPW, which was developed by Miller Puckette, whose technical support helped make this piece possible. The computer tracks parameters of the hi-hat, such as pitch, amplitude, continuous pitch change, rests, articulation, timbre, tempi, etc., and uses this information to continuously control and influence all the electronic sounds via compositional and digital synthesis algorithms. Time-stretching, granular sampling, FFT-based cross-synthesis, and analysis/resynthesis using an oscillator bank, as well as more standard signal processing such as harmonizing, phasing, spatialization, etc., are employed. The intent is to allow the performer to influence the computer output based on aspects of the musical expressivity of his/her interpretation of the score. Duration: 13 minutes.
credits
from Eos,
released January 28, 2021
Executive Producer: Chris Jacobs
Producer: Cort Lippe
Engineering and mastering: Chris Jacobs
Session Producers: Chris Jacobs
Recorded at: University of Buffalo, Buffalo, New York
Year piece was recorded: 2013
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