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, 2023, Music Composition

The Inconsistent Continuities is a single movement chamber piece with fixed media. The Inconsistent Continuities was composed for Hypercube Ensemble, whose performing forces include saxophone, electric guitar, percussion, and piano. An additional fixed media component is being controlled over time by one of the performers. The piece's theme is inspired by my personalized perception of living and coping with Attention Deficit Hyperactive Disorder (ADHD). The Inconsistent Continuities aims to sonically portray my personalized experiences living and coping with ADHD. Each ensemble member, plus the fixed media, personifies one or multiples of the three main ADHD traits: fixation; distraction; and inattentiveness. The single-movement piece comprises three sections. The first section establishes the four ensemble members as a theoretical “brain” attempting to formulate a musical melodic gesture or “idea.” This idea loops, signifying the characteristics of fixation. An external distraction from the fixed media then attempts to distract the ensemble from their original melodic thought. The musical content introduced by the fixed media is distant and obtrusive compared to the fixated thought from earlier. The remaining role (inattentiveness) is introduced during this section and attempts to bypass the first thought and the distraction. This section represents the mind being overly stimulated and the traits of ADHD that are more prevalent and controlling. The second section begins as a collective dialogue between all three characteristics that eventually reaches critical mass, followed by an abrupt breath inhale by the ensemble. This represents the mind being overwhelmed during social situations and everyday life while desperately seeking a moment of clarity. The final section unites each member, but the melodic idea of the piece changes, representing the mind solving the task or completing its thought through the tangential ADHD thought process.

Committee: Elainie Lillios Ph.D. (Committee Chair); Mikel Kuehn Ph.D. (Committee Member) Subjects: Music

Master of Music (MM), Bowling Green State University, 2023, Music Composition

Towards an Absurdist Semiological Syncretism (A.S.S.) is a composition for chamber ensemble and fixed media. The work will receive its premiere in April 2023 by the Hypercube ensemble as part of the Bowling Green State University College of Musical Arts Klingler Electroacoustic Residency. The instrumentation consists of saxophones (soprano and baritone), electric guitar, piano, and percussion (vibraphone, large tom, and snare drum). The work's title is both a farcical rendering of academic language and a description of its narrative: the subject (portrayed by the instrumentalists) attempts an establishment of existential meaning among emotional distress at a culture of increasing dependence on social media and the amorphous dictates of consumerism (portrayed by the fixed media). The composition comprises three large formal divisions. In the first section, five discrete sets of intervals populate a field of pitches. These interval sets are gradually restricted from their field towards a climactic hexachord (6–20[014589]). The second section employs single-line-staff notation to express pitch-agnostic gestures written for slide whistles. The third section consists of totalistic rhythmic and tonal constructs, the gradual simplification of which seeks to recontextualize a similar process in the opening section. The fixed media component of the work is sourced from recordings of public domain literature, popular soundbites from social media (in accordance with U.S. fair use doctrines), and various objects being broken.

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

Master of Music (MM), Bowling Green State University, 2022, Music Composition

So it Shall End is a ten-minute piece for clarinet (Bb and bass clarinet), violin, cello, piano, and fixed media. The piece is split into two main sections: “As it Began”, and “So it Shall End”. The first section is about four minutes in duration and establishes the main themes of the piece. The second section, approximately six minutes long, presents new material while also developing the work's broader themes. Programmatically, the piece is centered around Relativity–how the past, present, and future are all equally inevitable. To serve this narrative, the ensemble carries out three interchangeable roles – as impacts, drones/swells, and as flowing strands of time. The first section is primarily comprised of drones and strands, representing time in its most stable form. In the second section, impacts serve as disruptions to this as the strands grow ever more unwieldy – fraying apart as a result of the expansion of time itself. Though this depiction of time and reality unraveling progresses throughout the entire piece, each section utilizes a different approach. In the first section, melodic lines are more gestural and asynchronous. Pitch language is generally consonant. In contrast, the pitch language in the second section becomes more dissonant. This is achieved both through the reharmonization of thematic figures and the inclusion of polytonal textures. Additionally, the approach to rhythm in the second section is more prescribed, with hybrid rhythms and repeating ostinatos employing polymeter, polyrhythm, and asymmetrical meters. Contrary to the first section of the piece, these “rhythmic dissonances” are an ingrained part of the motivic material. The electronics are meant to immerse the listener in the massive expanse of time and to portray the scope of its destruction. This expansive sound world is constructed using a variety of ethereal sounds. Reverb and panning are used frequently as a way to make the listener feel enveloped. The electronics also r (open full item for complete abstract)

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

Doctor of Musical Arts, The Ohio State University, 2021, Music

Electronic music has experienced rapid and tumultuous incorporation into the canon of musical practice. Throughout the past century, this genre's identity has remained fluid, fallible, and ripe for reconstruction. Creating new works using electronic mediums differs from acoustic realms in both utilitarian objectivity and resultant affect. Performing these works invokes additional challenges: What if no performance score exists and the work itself only exists as a recorded audio file? How does a musician replicate seemingly endless abstractions of timbre, pitch, and spectral content? Finally, preserving electronic music is crucial for the survival of the idiom. As many works do not exist within discernible scores, how will new musical content be documented? Although recordings remain at the crux of electronic dissemination, issues such as data degradation muddy the conservation process. Specifically, acousmatic experiences have utterly inundated many individual's daily lives; millions of recorded songs are available at the tap of a button, scores accompany the films, television shows, and video games consumers interact with, and artistic ventures entail the inclusion of previously instantiated music. When Pierre Schaeffer formulated ideals on acousmatic listening and an adumbration of musical objects during the mid-20th century, today's technological perplexities were not predicated by reality; such expeditious alterations to musical practice were likely unexpected. Thus, it is time to situate the framework Schaeffer stipulated within contemporary mise-en-scene. Through the composition of my new work, Acousmatic Symphony, I experimented with alternative notational styles and systems of symbology. Following Schaeffer's assertations that two versions of a “score” are needed for adequate description of musical content-one essential and one operational-I created variations of each and applied my own version of an acousmatic notational system. Ad (open full item for complete abstract)

Committee: Thomas Wells (Advisor); Jan Radzynski (Committee Member); Daniel Shanahan (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

Master of Music (MM), Bowling Green State University, 2021, Music Composition

breaking in torrent ⸺, is a composition for a two percussionist, two pianist quartet with fixed media that was inspired by the poem “River Sonnet” by Tacey M. Atsitty. The imagery of place and memory informed the creation of a collection of sonic moments inspired by the textual landscapes of this text. breaking in torrent ⸺'s formal structure is through-composed, following the progression of six continuous scenes of various densities, rhythms, timbres, and harmonic material derived from particular phrases and/or words of the poem. The first section flow, explores the motion of rushing water with the constant rhythmicity of sixteenth-note runs. The second section stars, features a delicate, suspended atmosphere. The third section undercurrent, emerges as an ostinato that grows in both volume and range, that transitions into the fourth section rise, containing rapidly ascending gestures. These release into the fifth section, plumes of pang, during which a gentle harmonic progression emulates the sense of yearning and at times regret present within the text. The piece finishes with a return to flow material, recast into a different form than its initial presentation. breaking in torrent ⸺'s harmonic content originated from the progression (B♭M6, Dm, FM43, F♯M64(♭5), E♭M7), that was divided to create two pitch “zones” spread across multiple octaves. Arranged horizontally, each zone formed an irregular scale comprising six pitches. An additional ten pitch melodic phrase is introduced later as a third pitch zone. Rhythm in the work includes metrically driving rhythmic passages, ametric atmospheres, and varying combinations of the two. For example, layers of rapid tuplet figures create washes of sound while streams of steady eighth-note ostinati churn in rapidly shifting meters. Rhythmic lines at times act independently, creating contrapuntal intricacy and rhythmic hocketing. Other moments feature the ensemble in dramatic tutti, with unified rhythmic (open full item for complete abstract)

Committee: Elainie Lillios Dr. (Advisor); Mikel Kuehn Dr. (Committee Member) Subjects: Composition; Fine Arts; Music; Performing Arts

Master of Music (MM), Bowling Green State University, 2021, Music Composition

Human Becoming is a piece for two percussionists, two pianists, and fixed media approximately ten minutes in duration. The piece is influenced by Rosemarie Rizzo Parse's nursing theory of Human Becoming. The theory was first published as “Man-Living-Health” theory in 1981, and renamed to “Human Becoming” in 1992. The theory serves as an alternative to most other nursing theories' biological, psychological, social, and spiritual approaches. Parse rates quality of life based on each patient's self-perspective and personal goals. The theory is based on three main concepts - Meaning, Rhythmicity, and Transcendence, which each form a separate section of the work. The theory is not quantifiable, does not utilize the nursing process, and it lacks standardized research, making it less than useful as a medical evaluation tool. The subjective nature of it does however present an interesting framework on which to build a musical narrative. The composition is structured in three overarching sections, each based on a different theme of Human Becoming. The particular assumptions given in each theme influence the musical material and atmosphere of the individual sections, and set up the slow development of the piece's narrative. Human Becoming has pushed me to further develop my compositional voice and fully utilize the piano and percussion in conjunction with the fixed media. This piece was selected for performance through the BGSU College of Musical Arts Call for Proposals for the Icarus Quartet.

Committee: Mikel Kuehn (Advisor); Marilyn Shrude (Committee Member) Subjects: Music

Master of Music (MM), Bowling Green State University, 2021, Music Composition

herbstlied or "autumn song" is a composition for two percussionists, two pianos, and fixed media. This work explores how bipolar disorder and subtle, seasonal light fluctuations can affect one's emotional state and sense of stability (or lack thereof). Reconciling ever-fluctuating emotional states with an exploration of timbre and colors, herbstlied formally consists of three modal areas, further subdivided into various textural spaces. The distinctions between these modal areas are obfuscated by assigning each player a partition of the composite and slowly interpolating between the modal areas at different rates. The sound of the ensemble is further augmented through the use of a multitude of implements, including glass bottles, EBows, protractors, and various sticks, mallets, and brushes. Emotional fragility is represented in herbstlied through a limited dynamic range of pppp - p and a slow, nebulous tempo. This nearly constant state of dynamic frailty is punctuated and foiled by two aggressive ff outbursts at the end of the work. By filtering out the central bandwidth of the dynamic range, the ensemble is forced to operate between two dynamic poles, gesturally and literally representing a bipolar relationship. I sincerely hope that herbstlied can be my small contribution toward greater mental health awareness and acceptance in the contemporary music and academic communities. Moreover, it is a sincere expression of gratitude to my wife, Autumn, who acts as my emotional ground in the times that I am most intensely affected by the bipolar phenomena explored in this work.

Committee: Mikel Kuehn PhD (Advisor); Laurello Michael AD (Committee Member); Lillios Elainie DMA (Committee Member) Subjects: Music

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

Master of Music (MM), Ohio University, 2019, Music Theory (Fine Arts)

Throughout the history of electroacoustic music, a concise method of analysis has eluded researchers. Though many exceptional examples of nomenclature exist, no standard system for implementation or methodology for analysis has been developed. This thesis begins to bridge that gap and provide a scaffold for further research. By outlining a phenomenologically-based reductive theory of electroacoustic music, the most structurally salient elements of formal articulation are explored. Conclusions regarding the syntax of analyzed pieces are discussed while laying the groundwork for a more complete corpus study.

Committee: Ciro Scotto (Advisor); Jennifer Smith (Committee Member); Robert McClure (Committee Member) Subjects: Composition; Music; Pedagogy; Performing Arts

Doctor of Musical Arts, The Ohio State University, 2019, Music

From spring 2017 to March 2019 I composed an original, hour-long audiovisual electroacoustic work that utilized 4.1-channel sound, four projectors, and lights. This work, Study in Rain and Light, features sound entirely synthesized from rain sounds and visual content generated from videos of rainy days. In order to do so, I needed to develop techniques for audiovisual relationships. These techniques are based on terminology used in film and audiovisual research, such as congruence and counterpoint. By adopting these concepts as composition techniques, I was able to create meaningful relationships between sound and image that worked to unify a concert-length work. In this document, I will describe the techniques that I used and how I applied them in order to compose this work.

Committee: Thomas Wells (Advisor); Jan Radzynski (Committee Member); Anna Gawboy (Committee Member) Subjects: Music

DMA, University of Cincinnati, 2019, College-Conservatory of Music: Composition

This document discusses compositional ideas and computer music techniques employed by the composer, resulting in the interactive electro-acoustic work for solo harpsichord La nuit bleue. The selection of sounds for the electronic part is of particular interest. The design of the performer's patch in Max/MSP and the rendering of Markov chains in Max/MSP is also another important aspect of the composition discussed in this document. The use of samples from recordings of the harpsichord as the sound sources to the computer manipulation in electronics makes all sounds (harpsichord and electronics) related and creates the timbre image of the entire piece.

Committee: Mara (Margaret) Helmuth D.M.A. (Committee Chair); Michael Fiday Ph.D. (Committee Member); Douglas Knehans D.M.A. (Committee Member) Subjects: Music

Doctor of Philosophy, The Ohio State University, 1973, Graduate School

Committee: Not Provided (Other) Subjects: Education

Master of Music (MM), Bowling Green State University, 2016, Music Composition

…beneath the universal strife, the hidden harmony of all things… is a single movement, twelve minute composition for percussion trio and live, interactive electronics. Its three percussionists play an assortment of traditional and non-traditional percussion instruments with various implements including, sticks, mallets, brushes, metal dowels, and thimbles. The electronic element consists of real-time live processed, and fixed pre-composed sounds sourced from recordings of percussion sounds and vocal drones. Cast in three main sections, this piece includes musical ideas that represent order, clarity and harmony juxtaposed with contrasting ideas that represent chaos and dissonance. In the opening section, contrapuntal, articulate drum and metal gestures combine with sung vocal intonations and droning electronics to create a calm, undulating texture. A contrasting second section employs bowed metals to create a sustained stillness. The third section begins with vocal hums and sustained bowed metals that develops using rhythmic and melodic motives from the previous sections. The melodic language of …beneath the universal strife, the hidden harmony in all things… is derived from an opening motive utilizing the set 6-z12 [TE0146]. This motive is augmented structurally and rhythmically throughout the piece becoming a foundation for the piece's global harmonic language. Rhythmic motives play an important role in this piece, particularly in the form of a dotted rhythm that eschews the quarter note pulse. This syncopated rhythm assumes a variety of roles in the piece, acting act as an agitator, cohesive element and generative germ for the piece's rhythmic material. …beneath the universal strife, the hidden harmony in all things… is the natural evolution of my work of integrating electronics with percussion. It has also allowed me to explore pairing electronics with an ensemble of acoustic instruments using techniques that are new to my musical language.

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

"Biomes" is a 45-minute sound structure composed for electric guitar and electroacoustic soundscape. The debut performance of the work occurred on April 22, 2013 (Earth Day) within the Meyers Gallery at the University of Cincinnati. During this presentation, as well as on the debut recording of the composition, I functioned as electric guitarist and electroacoustic soundscape composer / performer. The electric guitar presents 6 songs during the electroacoustic soundscape. The melodic / harmonic material utilized within each song is primarily "fixed". The rhythmic / pulse material utilized within each song is primarily "fluid". The electroacoustic soundscape is comprised of 7 shifting biome soundscapes. The following biomes are represented: urban, desert, tropical forest, grassland, temperate forest, tundra, and aquatic (freshwater / marine). The complete soundscape incorporates 104 audio files (many of these audio files were accessed via the Macaulay Library at Cornell University). 52 of these audio files have been electronically processed in some fashion often utilizing MacPOD (developed by Chris Rolfe and Damian Keller). The remaining elements of the soundscape were constructed utilizing Logic Pro 9 (developed by Apple Incorporated). My initial creative intention was to compose music that I needed to hear (and hopefully music that needs to be heard). This creative intention has been realized through the completion of "Biomes". I have been intensely involved with music for over 27 years - sacrificing many other aspects of my life in order to pursue what I am deeply passionate about and to live fully as an artist. This extensive experience as an artist has informed my conclusion that "Biomes" is possibly the best work I have ever completed. The only way to understand my composition "Biomes" is to literally experience my composition "Biomes" (similarly, the only way to understand the taste of an apple is to literally experience the taste of an apple). Th (open full item for complete abstract)

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

DMA, University of Cincinnati, 2012, College-Conservatory of Music: Composition

Iroha, composed by Kazuaki Shiota, is a composition for dance and Human Motion Wind Chimes. The goal is to explore the interdisciplinary collaboration between music and dance with technology. The name of the composition is derived from the Japanese traditional poem, Iroha, which is attributed to Buddhism and consists of a perfect pangram. The structure for the choreography of this composition, choreographed by Karen Wissel, follows the word order of the poem, in which the phrases of choreography were created based on the shapes or meanings of the 47 Japanese syllabaries. Human Motion Wind Chimes is a software-based interactive sound system that Shiota created for making a sonic environment in which dancers' movements, captured by cameras, trigger various kinds of sounds. Each measure in the score, containing the sound parameters of Human Motion Wind Chimes, directly corresponds to each phrase of choreography.

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

M.M., University of Cincinnati, 2008, College-Conservatory of Music : Composition

"la luz es como el agua" (light is like water) was inspired by Gabriel Garcia Marquez's short story of the same title. The composition is based on the process of reflection, transformation, and the nature of transcendence. In this case the electroacoustic part casts the acoustic qualities of the string quartet into alternative dimensions.

Committee: Joel Hoffman (Committee Chair); Mara Helmuth (Advisor); Michael Fiday (Advisor) Subjects: Music

DMA, University of Cincinnati, 2007, College-Conservatory of Music : Piano

Music reflects the society and technology of its age. For 21st century pianists, in addition to mastering traditional solo piano and chamber repertoire, cultivating skills in performing new music and electro-acoustic music is necessary to adapt a centuries-old instrument to contemporary musical languages, aesthetics and technologies. Numerous well-known pianists have specialized in acoustic new music. The electro-acoustic music world, though, has not attracted equally prominent pianists/composers, and in general not enough pianists have specialized in electro-acoustic music. Within the field of electro-acoustic music, the genre of music for acoustic instrument(s) and tape has generated less interest recently than that using real-time sound processing. One reason for this neglect may be the mistaken belief that a fixed “tape” part does not allow for enough performance interaction and hence reduces musicality. This document investigates a number of pieces for piano and tape with respect to their performance practice, to serve a pedagogical function for both pianists and composers in both technical and aesthetic terms, and ultimately argues that music for acoustic instrument(s) and tape remains a flexible and musically valid genre. The repertoire examined includes Christopher Bailey's Balladei, Luigi Nono's …sofferte onde serene…, Mario Davidovsky's Synchronisms No. 6, Jonathan Harvey's Tombeau de Messiaen, James Mobberley's Caution to the Winds and Into the Maelstrom, and Katharine Norman's Trying to Translate. These works are chosen as examples of four distinct types of music for instrument(s) and tape, categorized by the kind of interaction evident between the tape and acoustic parts. The research method includes interviews with pianists specializing in electro-acoustic music, critical reflection on my own experience of performing, and interviews with living composers whose pieces are included in this document.

Committee: Dr. Mara Helmuth (Advisor) Subjects: Education, Music; Music