<p> Since the mid-twentieth century, many composers and performers have embraced the idea of synchronizing live musicians with electronic sounds to create a new musical experience, with organizations such as IRCAM advancing the development of electroacoustic music and technology. The genre of solo and chamber percussion music has also flourished since the twentieth century, with composers exploring the many sounds these instruments have to offer. Consequently, the parallel developments of electronic and percussion music eventually came together to form a new idiom. </p><p> One recent composer, Edmund Campion, helped propel electroacoustic music into the twenty-first century with many works incorporating electronics with live musicians. One of Campion's works, <i>Losing Touch</i> for amplified vibraphone and fixed electronic sounds (1994), pairs vibraphone with electronics to create a sound world unlike those before it. This project report provides a closer look at <i>Losing Touch</i> with a formal analysis and a guide to the performer on how to interpret this piece and navigate its technical challenges.</p>
| Identifer | oai:union.ndltd.org:PROQUEST/oai:pqdtoai.proquest.com:1592703 |
| Date | 02 September 2015 |
| Creators | Sakamoto, Kevin E. |
| Publisher | California State University, Long Beach |
| Source Sets | ProQuest.com |
| Language | English |
| Detected Language | English |
| Type | thesis |
Page generated in 0.0016 seconds