Abstract
In this paper I will discuss a series of my pieces that rework historical materials using various erasing procedures. My focus will be on the latest of these, The Gramophone Played, completed earlier this year, which is different in several respects: it was composed collaboratively, with the cellist Madeleine Shapiro, and it uses historical recordings rather than scores as its main sources. These features, alongside texts spoken by Madeleine and myself, result in a piece of many voices; my paper will consider some of the theoretical implications of this, drawing contrasts with earlier pieces in which I have argued that my composer's 'voice' has been in abeyance.