The Piano Reimagined: A Conversation with Peter Manning Robinson on Refracted Music

From scoring major film and television projects to completely reinventing how an acoustic piano can sound, Peter Manning Robinson has never been one to follow standard conventions. When severe tendinitis threatened to halt his performing career in his mid-twenties, he transformed a physical limitation into a catalyst for extraordinary innovation. The result is the Refractor Piano™—an instrument that projects live, morphed acoustic frequencies without pre-recorded tracks, synths, or digital shortcuts.

In this intimate interview, Robinson opens up about turning away from Hollywood’s strict mandates, the painstaking journey of physical retraining, and the raw, unfiltered philosophy behind “Refracted Music.”

You’ve enjoyed an accomplished career as a composer for film and television. Why did you stop working in this area?

I always struggled with film composition. I refused to copy or emulate anyone else…one of the prime requirements in so many of these assignments.In addition, I could never see just one way of scoring a scene. I would write untold versions until I was happy. Then, of course, the director and producers would chime in.This certainly is not conducive to the extreme deadlines that happen in this area and definitely not good for my sanity.Many people are happy and successful creating this way…just not me.Ironically, I am now co-producing and scoring a feature film with my collaborator, filmmaker Klaus Hoch.Life is certainly a mystery!

What inspired you to begin this new chapter centered around the Refractor Piano™?

My journey in this area started in my mid 20s when I developed tendinitis in both wrists. Within six months I had to curtail all concertizing and performing. I could only play for a few minutes at a time but I was determined that nothing would stop me from creating.I then started developing hybrid acoustic and electronic instruments to help me create new forms of music.However, the actual recording process had to be within the limitations of the two minutes that I could play…I never would sequence or loop anything.After over a decade, I met a brilliant man who saved my life. His name is Phil Cohen, director of the Leonardo Project in Montreal. He completely retrained me and now I am playing better than ever.However, all of the developments with these hybrid instruments that I had worked on for over 10 years would then creep in to my acoustic playing, and I found myself mixing both.

For readers discovering your work for the first time, how would you describe “Refracted Music” in your own words?

I never describe my music to someone else I always say “Listen and whatever you experience is what is true for you!“I can say a little bit about the theory behind my invention.In science, refraction occurs when a wave, whether it is light or sound, passes through a prism. The original sound is unaltered, but whatever is on the other side of the prism has become morphed and transformed. This is what happens with the Refractor Piano™. One still hears the original sound of the instrument, but then it is mixed in with it is all of these refracted sounds. I perform and record live with no pre-recorded tracks, virtual instruments or synths… just a refracted acoustic piano!

The Refractor Piano™ creates an incredibly rich sonic experience using only an acoustic piano. What inspired you to invent the instrument and develop this performance technique?

As you are well aware of, the use of synths, virtual instruments, and AI apps now inhabit the world of most creative artists. this is one of the reasons that I said that I will never use these devices again. I wanted to create something that no one else had… a type of performance, composition, and experience that could only be had with this instrument.The performance technique is quite different than anything that I’ve experienced. Because everything is alive with no editing, anything can happen… and usually does! It is like performing with an infinite number of me’s! I have to be constantly adjusting what I think is going to happen… because my Refractor Piano™ has a life of its own.

Your background includes classical training, jazz improvisation, and film scoring. How do those different disciplines influence your performances today?

I do not separate any aspect of my musical experiences.Even when I was studying written classical music, I could never play exactly what was on the page. I was always improvising within the structure, which didn’t go over so well with my teachers!I believe that one of my strengths is one of improvisation, so I utilize this in all aspects of my music.I will mention that many artists differentiate between taking a job that incorporates their music…a paid assignment… and writing for themselves. I could never do this.If I could not create the music that I believe in, I simply would not take the commission.

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