Treatise (D.M.A.)--University of Texas at Austin, 2004. / Supervisors: Rose Taylor and Dan Welcher. Vita. Includes bibliographical references. Also available from UMI.

Thesis (D.M.A.--Music)--University of California, San Diego, 2000. / Vita. Thesis consists of a document exploring "the issues of performing and recording music that uses technology" and a recording project. Five pieces of music for flute and computer technology were involved in the recording project: The twittering machine by Andrew May; Music for Flute and Computer by Cort Lippe; The Blistering Price of Power by Eric Lyon; Interact I by Barry Moon; and Jupiter by Philippe Manoury. Duration of acc. tapes: 58:05. "Selective discography" of works for flute and interactive electronics, and of works for flute and electronics on tape (leaves 54-55). Includes bibliographical references (leaves 58-61).

Constellations is a single movement work that explores the color between acoustic instruments and computer generated sounds. It is scored for four flutes (two doubling on piccolos), two oboes, two bassoons, eight B-flat clarinets, two bass B-flat clarinets; two alto saxophones, tenor saxophone, baritone saxophone; four trumpets in B-flat, four horns in F; three trombones, bass trombone; two tubas;piano; six percussionists; and contrabass. The duration of the work is nine minutes and twenty-eight seconds. Mapping of stellar constellations provide the primary material for all pitch and harmonic progressions throughout the work. Software synthesis and digital sampling techniques coalesce to produce the computer music on tape.

This thesis explores the expansion of the piano performance environment, using technology to augment the sound, the playing area of the piano and its surroundings, and/or the performer's own body in controlling electronic elements of the music. In particular I examine the extension of piano technique and how this is affected by adding technology. I also discuss collaborative compositional processes in creating co-authored musical works and have given a critical appraisal of the different technological systems used in all of these pieces. I have also introduced ideas about developing the structure of the piano to better suit contemporary techniques and the addition of technological elements in piano playing. These ideas are represented by my own "Inside-out Piano", illustrated within the thesis. Throughout this work many new pieces for piano and live electronics have been generated and I hope these may also be useful as a resource for other pianists exploring their own interactions with the piano.

No description available.

Two of the leading methodologies for spatializing audio over multiple channels include non-real-time multi-track tape and variations of real-time systems that often involve complex configurations of hardware. Of the latter, composers relying on MIDI as a control source have used pairs of sound modules, effects units and automation capable mixers to achieve spatialization over four loudspeakers. These systems typically employ intensity panning, Doppler shifts and reverberation. The present research details the development of a compact spatialization system using a MAX patch controlling a Kurzweil K2500 sampler. This system supports real-time diffusion of up to six simultaneous sound files over eight loudspeakers while incorporating intensity panning, Doppler shifts, delays and filtering. The MAX patch allows composers to choose from several automatic sound spatialization trajectories or to use the mouse to draw and store their own trajectories for later playback. The piece, Circumfusion, is an eighteen-minute composition of electroacoustic music utilizing this spatialization system.

And Drops of Rain Fall Like Tears is a composition for electroacoustic music with an optional ambient video component. The composition consists of a single movement electroacoustic work twenty-two minutes in duration. The piece creates an immersive sonic environment within the confines of a typical concert space, thereby recreating the powerful temper and subtle beauty of nature from different sonic perspectives. The paper is divided into four chapters, each discussing an element of the piece in detail. The introduction presents background information and compositional approach for the composition. Chapters 1 through 4 present detailed information related to the creation of both the electroacoustic music and video elements of the piece. Chapter 4 contains relevant information to the performance of the piece.

No description available.

This study explores general stylistic characteristics of a sample of frequently performed works for solo tuba with prepared tape. Preliminary material includes a brief overview of the status of electronic music in the solo tuba repertoire as well as a short survey of the development of electronic music.

No description available.