My analysis of the digital delay system for Narcissus is based on comparison between the composer's original Vesta Kosa DIG411 delay (on loan from Wendy Rolfe) and software simulations of the effects in Max/MSP. The goal of this exercise is to define the required effects algorithms and their parameters based on close examination of the composer's original instrument, in order to guide future implementations of this work using alternate technologies, with a reasonable understanding of the composer's intentions.

My analysis and performance of Pennycook's PRAESCIO IV is based on the composer's 1995 Max port of the original MIDI-Live system developed at McGill University between 1986 and 1990.

In addition to the works just mentioned, I provide an analysis of the interactive electronic systems used in Jonathan Kramer's Renascence [1974] and Cort Lippe's Music for Clarinet and ISPW [1992].