During the traditional electronic musical performances there is a lack of communication between the performer and spectator. Communication is necessary to a performance as it is a social act, created both by the performer, as well as the spectator. Through exploring the augmentation of visibility and physicality in regards to the electronic performance I attempt to enhance that communication through a concept called Sonicality, created out of the findings of this paper, that addresses the use of tactile vibrations, controlled by a performer in a visible manner, received on the spectator’s body, in relation to the music heard. Through the validation of this concept I manage to get an insight into the spectators’ needs and desires, grounding the validity of the concept as something that augments experience, interaction and understanding, enhancing the performer-spectator communication.

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This dissertation is a thorough examination of the problems modern composers of electronic music face when writing or discussing acousmatic music as derived from Pierre Schaeffer. By taking a close examination of Schaeffer's own writings on the subjects of reduced listening and acousmatic sounds, I illustrate the difficulties and inconsistencies in Schaeffer's philosophy and the problems that his reliance on Husserl's phenomenology creates. Further examination of criticisms of Husserl from Derrida and Heidegger highlight the ways that Schaeffer's phenomenology needs to be updated for the modern acousmatic composer. Articles by modern acousmatic composers such as Adrian Moore, Denis Smalley, Simon Emmerson, and others illustrate how artists have dealt with the problems in Schaeffer's ideas and the inconsistent ways they have applied his principles of sound and the sound object. I argue that a new method of musical meaning as a method of composition and analysis is necessary to resolve these conflicts and inconsistencies. This method is found in the writings of J.L. Austin, and Ludwig Wittgenstein through Andrew Chung, who places significant emphasis on the actions and effects that music takes. By reframing the acousmatic problem through meaning-as-use, I attempt to modernize Schaeffer's conceptions of sound and emphasize the significance of the ways that sound is used by composers as the crux of a modern acousmatic praxis.

In the modern euphonium repertoire, a rapidly expanding medium of accompaniment is the use of electronics, and especially live electronics. While the use of electronics can be daunting to new performers, this document aims to build on the established research surrounding electroacoustic solo euphonium works. The first part of the document will familiarize readers with some history and terminology surrounding electroacoustic music and the foundational research for this project. The second part is a performance guide to two commissioned live electroacoustic works: Bitruncation by Lucy Pankhurst, and Shape Shifter by Andrew May. The performance guides include theoretical analyses, an ideal hardware/software set up, and performative suggestions. An updated repertoire list is included in an appendix for performers who wish to discover more electroacoustic music. This list contains publishing or contact information in hopes that performers can more easily access these works.

Symphony no. 2 : towards a harmonious world. I. Molto sostenuto. II. Con alcuna licenza. III. Con fuoco -- Sunrise : for orchestra -- Epilogue for a tragedy : for flute, violin, cello and piano. I. Molto mesto. II. Molto pesante : quasi tarantella : tranquillo -- Ally : for clarinet, violin and cello -- Cosmo palladium : for flute and Max/MSP. / Hung Ming-kin Christopher. / Thesis (M.Mus.)--Chinese University of Hong Kong, 2006. / Abstracts in English and Chinese. / Symphony No.2 Towards a Harmonious World / Chapter I. --- Molto sostenuto --- p.5 / Chapter II. --- Con alcuna licenza --- p.36 / Chapter III. --- Con fuoco --- p.45 / Sunrise for orchestra --- p.84 / "Epilogue for a Tragedy for flute, violin, cello and piano" / Chapter I. --- Molto mesto --- p.101 / Chapter II. --- Molto pesante- quasi tarantella -tranquillo --- p.106 / "Ally for clarinet, violin and cello " --- p.115 / Cosmos Palladium for flute and Max/MSP --- p.125

Providing standards for music technology use in community college music programs presents both challenges and opportunities for educators in American higher education. A need exists to assess the current use of technology at the community college level for the purpose of improving instruction. Although limited research has been done on the use of technology to support music education K- 12 and in four-year universities, little research on the problem in the community college setting was found. This research employed a Delphi study, a method for the systematic solicitation and collection of professional judgments on a particular subject, to examine existing criteria, “best practices”, and standards, in an effort to develop a set of standards specifically for the community college level. All aspects of a complete music program were considered including: curriculum, staffing, equipment, materials/software, facilities and workforce competencies. The panel of experts, comprised of community college educators from throughout the nation, reached consensus on 50 of the 57 standards. Forty-one or 82%, were identified as minimal standards for the application of music technology in music education. Community college music educators, planning to successfully utilize music technology to improve teaching and learning should implement the 41 standards determined as minimal by the Delphi panel. As the use of music technology grows in our community college programs, the standards used to define the success of these programs will expand and mature through further research.