This paper presents the history and the theoretical study of mixed music and focuses on two piano solo works and two mixed electroacoustic compositions for piano and electronics. By discussing the working process and giving the analysis of the original composition Alchemy for piano and electronics, this paper investigates the relationship between cause, source and spectromorphology, reflecting how the concept of energy-motion trajectory are embodied in this mixed electroacoustic work. Alchemy is a mixed composition for piano solo and 8-channel fixed electronics focusing on the gestural play and sonic expression. The live piano part explores the gestural sound played with a slide (cup), paper clip, and objects placed inside the piano. The 8-channel electronics part is mainly derived from the recorded acoustic piano. It extends the sonic potential of source materials and presents the diverse vectorial movements of spatialization.

With a medium level of technical and interpretive difficulty, these arrangements of “Three Spirituals” are aimed at more advanced pianists. Lasting around 1½ to 2½ minutes each, the three movements are all fairly short and can be performed separately or – as recommended by the composer – in the order given here.:“Go Down, Moses” “Sometimes I Feel Like A Motherless Child” “Nobody Knows The Trouble I’ve Seen” / Die Arrangements der hier vorliegenden Ausgabe von „Three Spirituals“ richten sich mit ihrem in spieltechnischer Hinsicht mittleren Schwierigkeitsgrad und ihren musikalischen Anforderungen an schon etwas fortgeschrittenere Klavierspieler. Mit einer Dauer von circa eineinhalb bis zweieinhalb Minuten haben alle drei Sätze eine überschaubare Länge und können sehr gern einzeln oder – empfehlenswerterweise – in der hier abgedruckten Reihenfolge vorgetragen werden.:“Go Down, Moses” “Sometimes I Feel Like A Motherless Child” “Nobody Knows The Trouble I’ve Seen”

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The first three recitals included one recital of chamber music and two recitals of solo piano music. The first recital consisted of music for clarinet and piano, performed with Dr. Lee Gibson of the music faculty of North Texas State University. This program included the Mozart Clarinet Concerto, Five Atonal Pieces by William Latham, Sonata in F minor by Johannes Brahms, and Four Pieces for clarinet and piano by Alban Berg. The second recital contained the D minor Concerto of Marcello, transcribed by J. S. Sach, Sonata No. 1 by Karl Haria von Weber, Sposalizio by Franz Liszt, Sonata in F by Nels Harveland, and Three Fantasies from Opus 116 by Johannes Brahms. The third recital consisted of the F minor Fantasy by Mozart, Variations on a Theme of Rameau by Paul Dukas, Sechs Kleine Klavierstucke by Arnold Schoenberg and Four Preludes by Sergei Rachraaninov. The fourth recital featured a comparison of selected Liszt and Schumann piano transcriptions of Paganini Viol in Caprices. Musical examples comparing the Paganini Caprices and the transcriptions by Liszt and Schumann, in addition to examples comparing the similarities and differences between the transcriptions of Liszt and Schumann, were interspersed throughout the lecture.