line studies no. 1 (2013), for piano and computer, continues my exploration of musical scores which are generated live during performance. My interest in such scores is motivated by a desire to explore unique musical forms and structures which cannot easily be realized through common practice notation or graphic notation systems. In a similar manner to my point studies (2012-13) series of works for various ensemble configurations and computer, in line studies no. 1, a musical space is articulated by concentric rings segmented into arcs of varying lengths and thicknesses. As the score is developed, these arcs are progressively drawn, extended, overwritten, rotated, and erased. Each arc denotes a pitch that is performed by the pianist, with arc lengths and arc thicknesses corresponding to pitch durations and dynamics respectively. As the pianist navigates through the score, they are accompanied by a computer-generated interpretation of the score consisting of pre-recorded piano samples.