(Modern Classical, Ambient ) Seth Horvitz - Eight Studies for Automatic Piano - 2011, FLAC (tracks+.cue), lossless

Exact Audio Copy V1.0 beta 1 from 15. November 2010
EAC extraction logfile from 23. June 2011, 12:20
Seth Horvitz / Eight Studies For Automatic Piano
Used drive  : HL-DT-STDVDRAM GH22NS50   Adapter: 1  ID: 0
Read mode               : Secure
Utilize accurate stream : Yes
Defeat audio cache      : Yes
Make use of C2 pointers : No
Read offset correction                      : 667
Overread into Lead-In and Lead-Out          : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks   : No
Null samples used in CRC calculations       : Yes
Used interface                              : Native Win32 interface for Win NT & 2000
Gap handling                                : Appended to previous track
Used output format : Internal WAV Routines
Sample format      : 44.100 Hz; 16 Bit; Stereo
TOC of the extracted CD
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        2  |  5:18.19 |  2:22.11 |     23869    |    34529
        3  |  7:40.30 |  6:05.30 |     34530    |    61934
        4  | 13:45.60 |  3:56.57 |     61935    |    79691
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        6  | 23:02.06 |  5:45.65 |    103656    |   129595
        7  | 28:47.71 |  4:25.51 |    129596    |   149521
        8  | 33:13.47 | 12:30.73 |    149522    |   205844
Track  1
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Track  2
     Filename C:\R\02 - Study No. 4- Sixteen Diatonic Glissandi Moving At Harmonic Rates.wav
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Track  3
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Track  4
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Track  5
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Track  6
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Track  7
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Track  8
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None of the tracks are present in the AccurateRip database
No errors occurred
End of status report
==== Log checksum 8EAB1027493399C072F50EE4036C6947550E404FD7D797F1DC6EC3FCE804C73C ====

REM DISCID 6A0AB808
REM COMMENT "ExactAudioCopy v1.0b1"
PERFORMER "Seth Horvitz"
TITLE "Eight Studies For Automatic Piano "
FILE "01 - Study No. 14- Arch Study For The Highest Eight Notes.flac" WAVE
  TRACK 01 AUDIO
    TITLE "Study No. 14: Arch Study For The Highest Eight Notes"
    PERFORMER "Seth Horvitz"
    FLAGS DCP
    INDEX 01 00:00:00
FILE "02 - Study No. 4- Sixteen Diatonic Glissandi Moving At Harmonic Rates.flac" WAVE
  TRACK 02 AUDIO
    TITLE "Study No. 4: Sixteen Diatonic Glissandi Moving At Harmonic Rates"
    PERFORMER "Seth Horvitz"
    FLAGS DCP
    INDEX 01 00:00:00
FILE "03 - Study No. 2- An Approximate Series Of Approximate Harmonic Series.flac" WAVE
  TRACK 03 AUDIO
    TITLE "Study No. 2: An Approximate Series Of Approximate Harmonic Series"
    PERFORMER "Seth Horvitz"
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    INDEX 01 00:00:00
FILE "04 - Study No. 13- Echoes.flac" WAVE
  TRACK 04 AUDIO
    TITLE "Study No. 13: Echoes"
    PERFORMER "Seth Horvitz"
    FLAGS DCP
    INDEX 01 00:00:00
FILE "05 - Study No. 21- Bells.flac" WAVE
  TRACK 05 AUDIO
    TITLE "Study No. 21: Bells"
    PERFORMER "Seth Horvitz"
    FLAGS DCP
    INDEX 01 00:00:00
FILE "06 - Study No. 1- Octaves, Systematically Filled And Folded.flac" WAVE
  TRACK 06 AUDIO
    TITLE "Study No. 1: Octaves, Systematically Filled And Folded"
    PERFORMER "Seth Horvitz"
    FLAGS DCP
    INDEX 01 00:00:00
FILE "07 - Study No. 29- Tentacles.flac" WAVE
  TRACK 07 AUDIO
    TITLE "Study No. 29: Tentacles"
    PERFORMER "Seth Horvitz"
    FLAGS DCP
    INDEX 01 00:00:00
FILE "08 - Study No. 99- Strumming Machine.flac" WAVE
  TRACK 08 AUDIO
    TITLE "Study No. 99: Strumming Machine"
    PERFORMER "Seth Horvitz"
    FLAGS DCP
    INDEX 01 00:00:00

Completely brilliant, brain-boxing suite of piano minimalism from Seth Horvitz, inspired by the works of James Tenney, Ligeti, Charlemagne Palestine and Conlon Nancarrow. The aim of Eight Studies was apparently to use simple computer-aided compositional pieces to "test the limits of human perception and machine precision"; it was performed by a Yamaha Disklavier C7 without the presence of a single human being, and recorded live; indeed, it's a work that questions the very nature of "live". It's pointless to go into too much depth about the techniques deployed - the curious can download an in-depth Listener's Guide from the L-ne website - but to take just one example, 'Study No.2: An Approximate Series of Approximate Harmonic Series' finds Horvitz (or at least his electronic avatar) introducing a basic repeating shape and systematically layering it, transposing it, and rhythmically offsetting it against itself. Then, in Reichian style, the length of each repeating shape is incrementally shortened, producing a rhythmic phasing process. It's huge credit to Horvitz that his rigorously mathematical approaches to composing nonetheless yield richly melodic music, lyrical and addictive. Once you've digested this remarkable album, you'll never think of the piano the same way again.