DMA, University of Cincinnati, 2024, College-Conservatory of Music: Percussion

Electronic music has a rich history dating back farther than just the 1950's. Edgard Varese is often credited with the establishment of musique concrete, though that behemoth was taking shape well before his time. After some decades of composers creating pieces using analog sound systems and synthesizers, we have reached a breaking point in performing their works. Quite often the technology has become decrepit and dysfunctional, if one can procure it at all. A method of performing these works in a manner faithful to the composer's original intent does still exist—and that is through digital signal processors like Max, developed by Cycling '74. However, even with today's practices in Max and similar programs being robust and intuitive, problems in performance still arise that can be avoided altogether by a composer or programmer with the foresight to anticipate them. This document will provide performers and composers alike the necessary tools to navigate this music and improve future music in the electro-acoustic genre. The primary function of this document is to provide a brief historical background of both this analog heritage and digital uprising, a foundational knowledge of rudimentary hardware related to these, and a broad span of case studies related to pieces in both categories and in-between which leads into a discussion of better practices on the part of a composer-programmer.

Committee: James Culley M.M. (Committee Chair); Angela Swift Ph.D. D (Committee Member); Russell Burge M.M. (Committee Member) Subjects: Music

Doctor of Musical Arts (DMA), Bowling Green State University, 2024, Contemporary Music

This paper will provide a resource for percussionists and composers interested in music for non-traditional solo instruments and electronics. The goal is twofold: first, to present a user-friendly guide with identification of required electronic equipment, an understanding of basic signal flow, setup and troubleshooting guides, compositional trends, and technical demands; second, to promote this repertoire through a performance and analysis guide of three prominent works - Javier Alvarez's Temazcal (1984), Matthew Burtner's Broken Drum (2003), and Christopher Tonkin's In (2005). These works are representative of the genre and incorporate either live or fixed electronics. The instruments featured in these pieces are often treated by other composers as having limited artistic potential; positioning them as solo instruments allows them to demonstrate their artistic capabilities. Pairing them with an electronic component expands the palate of sound, providing more sonic diversity and expressive potential to an otherwise monochromatic instrument. In addition to the in-depth profiles of these three compositions, a selected list of applicable works is included with identification of specific instruments and technical demands. This will provide students and teachers with a body of current works which will aid in awareness and selection of this music. This paper aims to diminish current knowledge gaps related to contemporary electronic music and to promote the performance and creation of new works.

Committee: Daniel Piccolo DMA (Committee Chair); Marilyn Shrude DMA (Committee Member); Piyawat Louilarpprasert DMA (Committee Member); Lee Nickoson Ph.D. (Committee Member) Subjects: Music; Technology

Master of Music (MM), Bowling Green State University, 2024, Music Composition

An Uncommon Duo is a composition for solo performer and computer. The performer plays glass bottles, ocarina, thunder tube, and voice, while the computer processes those sounds live and plays fixed media using Cycling ‘74's Max object-oriented audio software. The work explores the intersectionality between composition and improvisation through the medium of technology. The title, An Uncommon Duo, derives from pairing two unlikely forces–one human and one electronic. The piece is organized into two interconnected movements, with each highlighting two acoustic instruments. The first movement, “An Earthen Flute”, features the ocarina and glass bottles, while the second movement, “A Thundering Breath”, features the voice and thunder tube. An Uncommon Duo is pseudo-improvised with the live performer creating improvisational gestures and textures that anticipate and/or react to the computer's predetermined live processing effects and fixed media tracks. An Uncommon Duo's musical language was derived from the instruments' spectromorphological characteristics rather than adhering to traditional harmonic or melodic structures. Each movement's musical material includes instrument and found object sounds, live processed sounds, and fixed media soundfiles. Density and energy fluctuate over time, with individual gestures evolving into large sound masses that subsequently disintegrate into moments of stasis and repose. Exploring extended, non-standard techniques with acoustic instruments was integral to creating a diverse and engaging texture as each movement evolved. The first movement's techniques include flutter tonguing, key tapping, air sounds, pitch bending, and multiphonics on the ocarina, as well as clinking and blowing the rim of the glass bottles. The second movement's sound world includes whistling, tongue trilling, breath sounds, vocalized phenomes, and simultaneous whistling and singing on the voice, combined with hitting/tapping, shaking, and dragging finger (open full item for complete abstract)

Committee: Elainie Lillios (Committee Chair); Christopher Dietz (Committee Member) Subjects: Music

Doctor of Musical Arts (DMA), Bowling Green State University, 2021, Music Performance/Instrumental Performance

The purpose of this document is to explore works written for horn and live electronics. This repertoire is considerably smaller compared to other instruments' and the existing pieces are not widely considered to be part of the standard repertoire. The author's intention is that this document will raise an awareness of the sonic possibilities of this genre to promote performances of the existing pieces and inspire new commissions. Eight pieces were obtained via the composers and are analyzed from the viewpoint of both performer and pedagogue. This document explores Silhouettes, Receding (2012) by Jay Batzner (b.1974) for Bruce Bonnell, Ghost Circles (2013) by Jay Batzner for Bruce Bonnell, Recombinant Serenade (2013) by Christopher Biggs (b.1979) for Lin Foulk Baird, Nisi (2012) by Kevin Ernste (1973) for Adam Unsworth, Horn Call (1976) by Randall Faust (1947), Gently Weep (2009) by Thomas Hundemer, Zylamander (2011) by Russell Pinkston (b. 1949) for Luke Zyla, and Pulsar [Variant I] (2013) by Seth Shafer.

Committee: Andrew Pelletier Dr. (Advisor); Ryan Ebright Dr. (Committee Member); Nora Engebretsen Dr. (Committee Member); Carolyn Tompsett Dr. (Other) Subjects: Music

DMA, University of Cincinnati, 2015, College-Conservatory of Music: Organ

A large body of works for organ and electronics has been written over the past fifty-four years. This music carries a new and unique set of challenges for both performer and composer. The elements of primary focus in many of these works relate to things such as timbre, texture, and the use of space and are not easily notated with the notational systems previously available. This work reviews the various ways composers have dealt with these challenges, particularly in their use of graphic notation. It also serves as a practical guide for the organist as a compilation of known works for organ and electronics, providing information on the physical location of the performance materials including the electronic media. Commentary on notation trends and innovations in the genre are provided, and notational systems for organ and electronics are examined at a more general level with respect to their utility in communicating performance information. Information useful to organists on the technical realization of electronic parts is also discussed.

Committee: Michael Unger D.M.A. (Committee Chair); Roberta Gary D.M.A. (Committee Member); Mara Helmuth D.M.A. (Committee Member) Subjects: Music

DMA, University of Cincinnati, 2013, College-Conservatory of Music: Composition

Unbearable Heaviness of Being for flute, clarinet, violin, cello, percussion, piano, and live electronics is a collection of impressions from nightmares I had when I was young. The work is divided into 6 movements. Each movement takes a specific look at the uneasy state of mind. Processing and mixing pre-recorded materials was done in the computer music studio at the University of Cincinnati. Various techniques using live sound processing were explored such as Pitch Shifting, FIR (simple finite impulse response filter in RTcmix), Octave Harmonizer, Delay/Feedback and MSHAKERS ('shaker' PhISEM and PhOLIES physical model in RTcmix).

Committee: Mara Helmuth D.M.A. (Committee Chair); Mike Fiday Ph.D. (Committee Member); Joel Hoffman D.M.A. (Committee Member) Subjects: Music

M.M., University of Cincinnati, 2010, College-Conservatory of Music : Composition

for bass drum, tam-tam and live electronics

Committee: Joel Hoffman DMA (Committee Chair); Mara Helmuth DMA (Committee Member); Mike Fiday PhD (Committee Member) Subjects: Music

Master of Music (MM), Bowling Green State University, 2009, Music Composition

Correspondances, a work for soprano voice, viola, percussion, and live electronics, explores the intricate timbral relationships that are possible between the human voice, acoustic instruments, processed sounds, and real­time electroacoustic processing. A poem of the same title by Charles Baudelaire comprises the text, which appears in the original French and in the English translation. Baudelaire's poem emphasizes themes of adventure, imagination, and the richness of nature, which allowed for exploration of a variety of musical characters. The work lasts approximately twelve minutes and contains aleatoric sections, counterpoint, and live electronics. Formally, Correspondances is one continuous movement containing an introduction, through­composed sections determined by the poem's stanzas, and a closing section. The introduction contains spoken text, aleatoric elements, and a large­ scale crescendo. The through­composed section features the stanzas of text and instrumental and electroacoustic interludes. The closing section recapitulates the opening by presenting similar aleatoric elements and a large­scale decrescendo ending with the vocalist whispering the final lines of text. Melodic and harmonic material is derived from synthetic scales. Melodic gestures and contrapuntal interplay emphasize specific melodic intervals including major sevenths, major sixths, tritones, and minor seconds. The soprano part features extended performance techniques including sotto voce techniques, whispers and speech. The percussion instrumentation includes vibraphone, bass drum, suspended cymbal, tam tam, log drum, and a mounted rainstick. Its timbral palette is enhanced through the use of soft mallets, brushes, and snare sticks. The percussionist controls the electroacoustic portion of the work with a foot pedal. Electroacoustic material is derived from various sources including percussion and environmental samples such as sounds of water, wind, and fire. Alo (open full item for complete abstract)

Committee: Elainie Lillios (Advisor); Mikel Kuehn (Committee Member) Subjects: Music