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

Doctor of Musical Arts (DMA), Bowling Green State University, 2019, Contemporary Music

The saxophone is relatively young compared to other instruments of the band and orchestra. Because the instrument is less constricted by traditional repertoire, composers looking to push the boundaries of concert music eagerly write for the saxophone, and saxophonists willingly experiment with new combinations of performance media. An exponential increase of works written for saxophone and multimedia has occurred since the 1960s. This increase in multimedia works for saxophone has paralleled a digital media revolution, manifested through advancements in recording, interactive media, and communication technologies. This document examines the synthesis of saxophone performance and the digital media revolution, elaborating upon existing repertoire for saxophone and digital media in a non-comprehensive manner, with emphasis placed upon electroacoustic works for saxophone and video. Possibilities for multimedia performance are rapidly expanding within the saxophone's repertoire. A poignant example, Matthew Burtner's meta-saxophone project combines motion tracking, accelerometers, and other technologies with the physical saxophone, creating a cyborg instrument. In this situation, Burtner is an auteur, acting simultaneously as the composer, performer, technologist, and sometimes visual artist, all while using the saxophone as the crux of expression. Other composers and artists take a collaborative approach while using saxophone and digital media. These combinations of saxophone and digital media create a new and exciting medium in concert performance. Yet, the combination of live performance and digital medium lacks scholarly analysis. While existing research provides valuable analysis from a performer's perspective, further examination of the interactions between mediums can reveal new potential and meaning. The introduction of elements of media theory and analysis to saxophone repertoire, using specific repertoire as micro-case-studies, will widen the artistic underst (open full item for complete abstract)

Committee: John Sampen D.M.A. (Advisor); Ryan Ebright Ph.D. (Committee Member); Mikel Kuehn Ph.D. (Committee Member); Jerry Schnepp Ph.D. (Other) Subjects: Communication; Mass Media; Music