This article is an analytical study of the music of, and an interview with, the Canadian composer Cassandra Miller. Her use of recordings as starting-points for several of her compositions is explored, as is her fondness for loop-based structures, which are sometimes inspired by analogous processes in the world of film. A brief overview of Miller's work to date is complemented by a close examination of several scores, notably Bel Canto, “O Zomer!” and Philip the wanderer. The concluding interview with the composer presents Miller's present musical and artistic concerns in her own words.
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