| | Interview Arne Deforce (Site not responding. Last check: ) |
 | | I decided to treat the cello as more or less just a resonant box with four strings on it; then, the player has two hands, one of which holds the bow, both of which are able to move in three dimensions. |
 | | I was developing a view of pitch-behaviour in which each string embodies a continuum of frequencies when fingered normally, but a discontinuous spectrum when fingered as for harmonics, again proceeding from first principles: everything you see in the score, both glissandi and microtones, emerges from this. |
 | | Stopping the bow on the string is a similar case: it has always seemed strange to me how composers (and performers) pay so much more attention to how a sound begins than to how it ends, and the end of a sound requires just as close attention to articulation. |
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