subject:(Electronic Music)

1. Sagesser, Marcel. Seeking the Unstable: A Practice Amidst Digital Analogies.

Degree: Computer Music and Multimedia Composition, 2018, Brown University

URL: https://repository.library.brown.edu/studio/item/bdr:792776/

► This essay is a thorough documentation of the live music performance "Pulsations [Bitumen]" realized under the author's artist moniker 'Marcel Zaes' in 2018. The author… (more)

Subjects/Keywords: Electronic music

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APA (6^th Edition):

Sagesser, M. (2018). Seeking the Unstable: A Practice Amidst Digital Analogies. (Thesis). Brown University. Retrieved from https://repository.library.brown.edu/studio/item/bdr:792776/

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Sagesser, Marcel. “Seeking the Unstable: A Practice Amidst Digital Analogies.” 2018. Thesis, Brown University. Accessed January 15, 2021. https://repository.library.brown.edu/studio/item/bdr:792776/.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Sagesser, Marcel. “Seeking the Unstable: A Practice Amidst Digital Analogies.” 2018. Web. 15 Jan 2021.

Vancouver:

Sagesser M. Seeking the Unstable: A Practice Amidst Digital Analogies. [Internet] [Thesis]. Brown University; 2018. [cited 2021 Jan 15]. Available from: https://repository.library.brown.edu/studio/item/bdr:792776/.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Sagesser M. Seeking the Unstable: A Practice Amidst Digital Analogies. [Thesis]. Brown University; 2018. Available from: https://repository.library.brown.edu/studio/item/bdr:792776/

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

2. Moses, James. Oscillator Pond: Analog Critters in a Digital Pool - An ambient and interactive audio installation.

Degree: Department of Music, 2018, Brown University

URL: https://repository.library.brown.edu/studio/item/bdr:792787/

► Oscillator Pond is a sound installation project developed as part of an environment art-science conference program, Atmospheres. The work introduced a randomized soundscape into a… (more)

Subjects/Keywords: Electronic music

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APA (6^th Edition):

Moses, J. (2018). Oscillator Pond: Analog Critters in a Digital Pool - An ambient and interactive audio installation. (Thesis). Brown University. Retrieved from https://repository.library.brown.edu/studio/item/bdr:792787/

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Moses, James. “Oscillator Pond: Analog Critters in a Digital Pool - An ambient and interactive audio installation.” 2018. Thesis, Brown University. Accessed January 15, 2021. https://repository.library.brown.edu/studio/item/bdr:792787/.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Moses, James. “Oscillator Pond: Analog Critters in a Digital Pool - An ambient and interactive audio installation.” 2018. Web. 15 Jan 2021.

Vancouver:

Moses J. Oscillator Pond: Analog Critters in a Digital Pool - An ambient and interactive audio installation. [Internet] [Thesis]. Brown University; 2018. [cited 2021 Jan 15]. Available from: https://repository.library.brown.edu/studio/item/bdr:792787/.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Moses J. Oscillator Pond: Analog Critters in a Digital Pool - An ambient and interactive audio installation. [Thesis]. Brown University; 2018. Available from: https://repository.library.brown.edu/studio/item/bdr:792787/

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of Cincinnati

3. Milloway, Shawn. Cathode Green: For Laptop Ensemble, Player Piano, and Fixed Electronics.

Degree: DMA, College-Conservatory of Music: Composition, 2020, University of Cincinnati

URL: http://rave.ohiolink.edu/etdc/view?acc_num=ucin1592170249875699

► The video art of Steina and Woody Vasulka as well as Steve Rutt and Bill Etra inspired me to write Cathode Green. These pioneers helped… (more)

Subjects/Keywords: Music; Electronic Music; Music Composition; Laptop Ensemble

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APA (6^th Edition):

Milloway, S. (2020). Cathode Green: For Laptop Ensemble, Player Piano, and Fixed Electronics. (Doctoral Dissertation). University of Cincinnati. Retrieved from http://rave.ohiolink.edu/etdc/view?acc_num=ucin1592170249875699

Chicago Manual of Style (16^th Edition):

Milloway, Shawn. “Cathode Green: For Laptop Ensemble, Player Piano, and Fixed Electronics.” 2020. Doctoral Dissertation, University of Cincinnati. Accessed January 15, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1592170249875699.

MLA Handbook (7^th Edition):

Milloway, Shawn. “Cathode Green: For Laptop Ensemble, Player Piano, and Fixed Electronics.” 2020. Web. 15 Jan 2021.

Vancouver:

Milloway S. Cathode Green: For Laptop Ensemble, Player Piano, and Fixed Electronics. [Internet] [Doctoral dissertation]. University of Cincinnati; 2020. [cited 2021 Jan 15]. Available from: http://rave.ohiolink.edu/etdc/view?acc_num=ucin1592170249875699.

Council of Science Editors:

Milloway S. Cathode Green: For Laptop Ensemble, Player Piano, and Fixed Electronics. [Doctoral Dissertation]. University of Cincinnati; 2020. Available from: http://rave.ohiolink.edu/etdc/view?acc_num=ucin1592170249875699

Queen Mary, University of London

4. Tubb, Robert H. Creativity, exploration and control in musical parameter spaces.

Degree: PhD, 2016, Queen Mary, University of London

URL: http://qmro.qmul.ac.uk/xmlui/handle/123456789/12964 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.775284

► This thesis investigates the use of multidimensional control of synthesis parameters in electronic music, and the impact of controller mapping techniques on creativity. The theoretical… (more)

▼ This thesis investigates the use of multidimensional control of synthesis parameters in electronic music, and the impact of controller mapping techniques on creativity. The theoretical contribution of this work, the EARS model, provides a rigorous application of creative cognition research to this topic. EARS provides a cognitive model of creative interaction with technology, retrodicting numerous prior findings in musical interaction research. The model proposes four interaction modes, and characterises them in terms of parameter-space traversal mechanisms. Recommendations for properties of controller-synthesiser mappings that support each of the modes are given. This thesis proposes a generalisation of Fitts' law that enables throughput-based evaluation of multi-dimensional control devices. Three experiments were run that studied musicians performing sound design tasks with various interfaces. Mappings suited to three of the four EARS modes were quantitatively evaluated. Experiment one investigated the notion of a `divergent interface'. A mapping geometry that caters to early-stage exploratory creativity was developed, and evaluated via a publicly available tablet application. Dimension reduction of a 10D synthesiser parameter space to 2D surface was achieved using Hilbert space-filling curves. Interaction data indicated that this divergent mapping was used for early-stage creativity, and that the traditional sliders were used for late-stage one tuning. Experiment two established a `minimal experimental paradigm' for sound design interface evaluation. This experiment showed that multidimensional controllers were faster than 1D sliders for locating a target sound in two and three timbre dimensions. iv The final study tested a novel embodied interaction technique: ViBEAMP. This system utilised a hand tracker and a 3D visualisation to train users to control 6 synthesis parameters simultaneously. Throughput was recorded as triple that of six sliders, and working memory load was signiffcantly reduced. This experiment revealed that musical, time-targeted interactions obey a different speed-accuracy trade-of law from accuracy-targeted interactions.

Subjects/Keywords: Electronic Engineering and Computer Science; electronic music

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APA (6^th Edition):

Tubb, R. H. (2016). Creativity, exploration and control in musical parameter spaces. (Doctoral Dissertation). Queen Mary, University of London. Retrieved from http://qmro.qmul.ac.uk/xmlui/handle/123456789/12964 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.775284

Chicago Manual of Style (16^th Edition):

Tubb, Robert H. “Creativity, exploration and control in musical parameter spaces.” 2016. Doctoral Dissertation, Queen Mary, University of London. Accessed January 15, 2021. http://qmro.qmul.ac.uk/xmlui/handle/123456789/12964 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.775284.

MLA Handbook (7^th Edition):

Tubb, Robert H. “Creativity, exploration and control in musical parameter spaces.” 2016. Web. 15 Jan 2021.

Vancouver:

Tubb RH. Creativity, exploration and control in musical parameter spaces. [Internet] [Doctoral dissertation]. Queen Mary, University of London; 2016. [cited 2021 Jan 15]. Available from: http://qmro.qmul.ac.uk/xmlui/handle/123456789/12964 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.775284.

Council of Science Editors:

Tubb RH. Creativity, exploration and control in musical parameter spaces. [Doctoral Dissertation]. Queen Mary, University of London; 2016. Available from: http://qmro.qmul.ac.uk/xmlui/handle/123456789/12964 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.775284

University of Aberdeen

5. Nasciuti, Luca. Imaginal landscapes : the role of electroacoustic music in concealing localised stories and revealing new myths.

Degree: PhD, 2019, University of Aberdeen

URL: https://eu03.alma.exlibrisgroup.com/view/delivery/44ABE_INST/12152409390005941 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.782082

► The PhD examines ways in which environmental sounds are being employed for the production of musical works in different media. Drawing on the analysis of… (more)

Subjects/Keywords: 780; Electronic composition; Electronic music; Sounds

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Nasciuti, L. (2019). Imaginal landscapes : the role of electroacoustic music in concealing localised stories and revealing new myths. (Doctoral Dissertation). University of Aberdeen. Retrieved from https://eu03.alma.exlibrisgroup.com/view/delivery/44ABE_INST/12152409390005941 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.782082

Chicago Manual of Style (16^th Edition):

Nasciuti, Luca. “Imaginal landscapes : the role of electroacoustic music in concealing localised stories and revealing new myths.” 2019. Doctoral Dissertation, University of Aberdeen. Accessed January 15, 2021. https://eu03.alma.exlibrisgroup.com/view/delivery/44ABE_INST/12152409390005941 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.782082.

MLA Handbook (7^th Edition):

Nasciuti, Luca. “Imaginal landscapes : the role of electroacoustic music in concealing localised stories and revealing new myths.” 2019. Web. 15 Jan 2021.

Vancouver:

Nasciuti L. Imaginal landscapes : the role of electroacoustic music in concealing localised stories and revealing new myths. [Internet] [Doctoral dissertation]. University of Aberdeen; 2019. [cited 2021 Jan 15]. Available from: https://eu03.alma.exlibrisgroup.com/view/delivery/44ABE_INST/12152409390005941 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.782082.

Council of Science Editors:

Nasciuti L. Imaginal landscapes : the role of electroacoustic music in concealing localised stories and revealing new myths. [Doctoral Dissertation]. University of Aberdeen; 2019. Available from: https://eu03.alma.exlibrisgroup.com/view/delivery/44ABE_INST/12152409390005941 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.782082

University of California – San Diego

6. Kaiser, Jeffrey Glen. Improvising technology : configuring identities and interfaces in contemporary electro-acoustic music.

Degree: Music, 2013, University of California – San Diego

URL: http://www.escholarship.org/uc/item/6bg2c417

► This dissertation is an ethnographic examination of contemporary musicians who improvise with new, repurposed and reinvented electronic technologies, along with a critical examination of how… (more)

Subjects/Keywords: Improvisation (Music); Electronic musical instruments

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APA (6^th Edition):

Kaiser, J. G. (2013). Improvising technology : configuring identities and interfaces in contemporary electro-acoustic music. (Thesis). University of California – San Diego. Retrieved from http://www.escholarship.org/uc/item/6bg2c417

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Kaiser, Jeffrey Glen. “Improvising technology : configuring identities and interfaces in contemporary electro-acoustic music.” 2013. Thesis, University of California – San Diego. Accessed January 15, 2021. http://www.escholarship.org/uc/item/6bg2c417.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Kaiser, Jeffrey Glen. “Improvising technology : configuring identities and interfaces in contemporary electro-acoustic music.” 2013. Web. 15 Jan 2021.

Vancouver:

Kaiser JG. Improvising technology : configuring identities and interfaces in contemporary electro-acoustic music. [Internet] [Thesis]. University of California – San Diego; 2013. [cited 2021 Jan 15]. Available from: http://www.escholarship.org/uc/item/6bg2c417.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Kaiser JG. Improvising technology : configuring identities and interfaces in contemporary electro-acoustic music. [Thesis]. University of California – San Diego; 2013. Available from: http://www.escholarship.org/uc/item/6bg2c417

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Queen Mary, University of London

7. Terrell, Michael John. Perceptual mixing for musical production.

Degree: PhD, 2012, Queen Mary, University of London

URL: http://qmro.qmul.ac.uk/xmlui/handle/123456789/8647 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.667075

► A general model of music mixing is developed, which enables a mix to be evaluated as a set of acoustic signals. A second model describes… (more)

Subjects/Keywords: 621.389; Electronic Engineering; Music mixing

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APA (6^th Edition):

Terrell, M. J. (2012). Perceptual mixing for musical production. (Doctoral Dissertation). Queen Mary, University of London. Retrieved from http://qmro.qmul.ac.uk/xmlui/handle/123456789/8647 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.667075

Chicago Manual of Style (16^th Edition):

Terrell, Michael John. “Perceptual mixing for musical production.” 2012. Doctoral Dissertation, Queen Mary, University of London. Accessed January 15, 2021. http://qmro.qmul.ac.uk/xmlui/handle/123456789/8647 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.667075.

MLA Handbook (7^th Edition):

Terrell, Michael John. “Perceptual mixing for musical production.” 2012. Web. 15 Jan 2021.

Vancouver:

Terrell MJ. Perceptual mixing for musical production. [Internet] [Doctoral dissertation]. Queen Mary, University of London; 2012. [cited 2021 Jan 15]. Available from: http://qmro.qmul.ac.uk/xmlui/handle/123456789/8647 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.667075.

Council of Science Editors:

Terrell MJ. Perceptual mixing for musical production. [Doctoral Dissertation]. Queen Mary, University of London; 2012. Available from: http://qmro.qmul.ac.uk/xmlui/handle/123456789/8647 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.667075

8. Horn, Maria. Pressure and movements : Gender constructions in experimental electronic music.

Degree: Composition and Conducting, 2013, Royal College of Music in Stockholm

URL: http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1637

►

The aim of this text is to examine the field of experimental electronic music with a focus on gender constructions and in particular electronic… (more)

Subjects/Keywords: experimental electronic music; composition; gender

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APA (6^th Edition):

Horn, M. (2013). Pressure and movements : Gender constructions in experimental electronic music. (Thesis). Royal College of Music in Stockholm. Retrieved from http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1637

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Horn, Maria. “Pressure and movements : Gender constructions in experimental electronic music.” 2013. Thesis, Royal College of Music in Stockholm. Accessed January 15, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1637.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Horn, Maria. “Pressure and movements : Gender constructions in experimental electronic music.” 2013. Web. 15 Jan 2021.

Vancouver:

Horn M. Pressure and movements : Gender constructions in experimental electronic music. [Internet] [Thesis]. Royal College of Music in Stockholm; 2013. [cited 2021 Jan 15]. Available from: http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1637.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Horn M. Pressure and movements : Gender constructions in experimental electronic music. [Thesis]. Royal College of Music in Stockholm; 2013. Available from: http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1637

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of Aberdeen

9. Thompson, Bill. Towards the non-objective.

Degree: Dept. of Music., 2009, University of Aberdeen

URL: http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?application=DIGITOOL-3&owner=resourcediscovery&custom_att_2=simple_viewer&pid=210037 ; http://digitool.abdn.ac.uk:1801/webclient/DeliveryManager?pid=210037&custom_att_2=simple_viewer

Subjects/Keywords: Electronic music.

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Thompson, B. (2009). Towards the non-objective. (Doctoral Dissertation). University of Aberdeen. Retrieved from http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?application=DIGITOOL-3&owner=resourcediscovery&custom_att_2=simple_viewer&pid=210037 ; http://digitool.abdn.ac.uk:1801/webclient/DeliveryManager?pid=210037&custom_att_2=simple_viewer

Chicago Manual of Style (16^th Edition):

Thompson, Bill. “Towards the non-objective.” 2009. Doctoral Dissertation, University of Aberdeen. Accessed January 15, 2021. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?application=DIGITOOL-3&owner=resourcediscovery&custom_att_2=simple_viewer&pid=210037 ; http://digitool.abdn.ac.uk:1801/webclient/DeliveryManager?pid=210037&custom_att_2=simple_viewer.

MLA Handbook (7^th Edition):

Thompson, Bill. “Towards the non-objective.” 2009. Web. 15 Jan 2021.

Vancouver:

Thompson B. Towards the non-objective. [Internet] [Doctoral dissertation]. University of Aberdeen; 2009. [cited 2021 Jan 15]. Available from: http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?application=DIGITOOL-3&owner=resourcediscovery&custom_att_2=simple_viewer&pid=210037 ; http://digitool.abdn.ac.uk:1801/webclient/DeliveryManager?pid=210037&custom_att_2=simple_viewer.

Council of Science Editors:

Thompson B. Towards the non-objective. [Doctoral Dissertation]. University of Aberdeen; 2009. Available from: http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?application=DIGITOOL-3&owner=resourcediscovery&custom_att_2=simple_viewer&pid=210037 ; http://digitool.abdn.ac.uk:1801/webclient/DeliveryManager?pid=210037&custom_att_2=simple_viewer

University of Aberdeen

10. Wyness, James. Portfolio of compositions and a commentary.

Degree: Dept. of Music., 2009, University of Aberdeen

URL: http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?application=DIGITOOL-3&owner=resourcediscovery&custom_att_2=simple_viewer&pid=26428 ; http://digitool.abdn.ac.uk:1801/webclient/DeliveryManager?pid=26428&custom_att_2=simple_viewer

Subjects/Keywords: Electronic music.

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Wyness, J. (2009). Portfolio of compositions and a commentary. (Doctoral Dissertation). University of Aberdeen. Retrieved from http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?application=DIGITOOL-3&owner=resourcediscovery&custom_att_2=simple_viewer&pid=26428 ; http://digitool.abdn.ac.uk:1801/webclient/DeliveryManager?pid=26428&custom_att_2=simple_viewer

Chicago Manual of Style (16^th Edition):

Wyness, James. “Portfolio of compositions and a commentary.” 2009. Doctoral Dissertation, University of Aberdeen. Accessed January 15, 2021. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?application=DIGITOOL-3&owner=resourcediscovery&custom_att_2=simple_viewer&pid=26428 ; http://digitool.abdn.ac.uk:1801/webclient/DeliveryManager?pid=26428&custom_att_2=simple_viewer.

MLA Handbook (7^th Edition):

Wyness, James. “Portfolio of compositions and a commentary.” 2009. Web. 15 Jan 2021.

Vancouver:

Wyness J. Portfolio of compositions and a commentary. [Internet] [Doctoral dissertation]. University of Aberdeen; 2009. [cited 2021 Jan 15]. Available from: http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?application=DIGITOOL-3&owner=resourcediscovery&custom_att_2=simple_viewer&pid=26428 ; http://digitool.abdn.ac.uk:1801/webclient/DeliveryManager?pid=26428&custom_att_2=simple_viewer.

Council of Science Editors:

Wyness J. Portfolio of compositions and a commentary. [Doctoral Dissertation]. University of Aberdeen; 2009. Available from: http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?application=DIGITOOL-3&owner=resourcediscovery&custom_att_2=simple_viewer&pid=26428 ; http://digitool.abdn.ac.uk:1801/webclient/DeliveryManager?pid=26428&custom_att_2=simple_viewer

Royal Holloway, University of London

11. Whiter, Christopher. An exploration of compositional & improvisational approaches to jazz & electronics.

Degree: PhD, 2017, Royal Holloway, University of London

URL: https://pure.royalholloway.ac.uk/portal/en/publications/an-exploration-of-compositional – improvisational-approaches-to-jazz – electronics(a062d554-416e-45c1-ad0a-2ba167dcf379).html ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.792737

► This is a practical study focusing on the combination of acoustic jazz ensembles with live and studio electronics. The purpose of this research is to… (more)

Subjects/Keywords: Composition; Jazz; Electronic Music

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Whiter, C. (2017). An exploration of compositional & improvisational approaches to jazz & electronics. (Doctoral Dissertation). Royal Holloway, University of London. Retrieved from https://pure.royalholloway.ac.uk/portal/en/publications/an-exploration-of-compositional – improvisational-approaches-to-jazz – electronics(a062d554-416e-45c1-ad0a-2ba167dcf379).html ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.792737

Chicago Manual of Style (16^th Edition):

Whiter, Christopher. “An exploration of compositional & improvisational approaches to jazz & electronics.” 2017. Doctoral Dissertation, Royal Holloway, University of London. Accessed January 15, 2021. https://pure.royalholloway.ac.uk/portal/en/publications/an-exploration-of-compositional – improvisational-approaches-to-jazz – electronics(a062d554-416e-45c1-ad0a-2ba167dcf379).html ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.792737.

MLA Handbook (7^th Edition):

Whiter, Christopher. “An exploration of compositional & improvisational approaches to jazz & electronics.” 2017. Web. 15 Jan 2021.

Vancouver:

Whiter C. An exploration of compositional & improvisational approaches to jazz & electronics. [Internet] [Doctoral dissertation]. Royal Holloway, University of London; 2017. [cited 2021 Jan 15]. Available from: https://pure.royalholloway.ac.uk/portal/en/publications/an-exploration-of-compositional – improvisational-approaches-to-jazz – electronics(a062d554-416e-45c1-ad0a-2ba167dcf379).html ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.792737.

Council of Science Editors:

Whiter C. An exploration of compositional & improvisational approaches to jazz & electronics. [Doctoral Dissertation]. Royal Holloway, University of London; 2017. Available from: https://pure.royalholloway.ac.uk/portal/en/publications/an-exploration-of-compositional – improvisational-approaches-to-jazz – electronics(a062d554-416e-45c1-ad0a-2ba167dcf379).html ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.792737

University of Minnesota

12. Klein, Benjamin. The Wunderkammer Interface.

Degree: PhD, Music, 2017, University of Minnesota

URL: http://hdl.handle.net/11299/188951

► The Wunderkammer Interface is a nonhierarchical composition that invites an improvising musician to interact with twenty-five modules of composed digital audio processing. The musician who… (more)

Subjects/Keywords: Composition; Electronic Music; Improvisation; Music; SuperCollider; Wunderkammer

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Klein, B. (2017). The Wunderkammer Interface. (Doctoral Dissertation). University of Minnesota. Retrieved from http://hdl.handle.net/11299/188951

Chicago Manual of Style (16^th Edition):

Klein, Benjamin. “The Wunderkammer Interface.” 2017. Doctoral Dissertation, University of Minnesota. Accessed January 15, 2021. http://hdl.handle.net/11299/188951.

MLA Handbook (7^th Edition):

Klein, Benjamin. “The Wunderkammer Interface.” 2017. Web. 15 Jan 2021.

Vancouver:

Klein B. The Wunderkammer Interface. [Internet] [Doctoral dissertation]. University of Minnesota; 2017. [cited 2021 Jan 15]. Available from: http://hdl.handle.net/11299/188951.

Council of Science Editors:

Klein B. The Wunderkammer Interface. [Doctoral Dissertation]. University of Minnesota; 2017. Available from: http://hdl.handle.net/11299/188951

University of Southern California

13. Letsoalo, Tshegofatso, S. Ash riser and the rise of LA Dubstep.

Degree: MA, Specialized Journalism (The Arts), 2012, University of Southern California

URL: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/84680/rec/924

► Dubstep is an electronic music dance genre born right in the heart of South London in the early 2000s. The scene crossed over to America… (more)

Subjects/Keywords: music; dubstep; Los Angeles; culture; electronic music

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APA (6^th Edition):

Letsoalo, Tshegofatso, S. (2012). Ash riser and the rise of LA Dubstep. (Masters Thesis). University of Southern California. Retrieved from http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/84680/rec/924

Chicago Manual of Style (16^th Edition):

Letsoalo, Tshegofatso, S. “Ash riser and the rise of LA Dubstep.” 2012. Masters Thesis, University of Southern California. Accessed January 15, 2021. http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/84680/rec/924.

MLA Handbook (7^th Edition):

Letsoalo, Tshegofatso, S. “Ash riser and the rise of LA Dubstep.” 2012. Web. 15 Jan 2021.

Vancouver:

Letsoalo, Tshegofatso S. Ash riser and the rise of LA Dubstep. [Internet] [Masters thesis]. University of Southern California; 2012. [cited 2021 Jan 15]. Available from: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/84680/rec/924.

Council of Science Editors:

Letsoalo, Tshegofatso S. Ash riser and the rise of LA Dubstep. [Masters Thesis]. University of Southern California; 2012. Available from: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/84680/rec/924

University of New South Wales

14. Saintilan, Nicole. The electronic music of Don Banks.

Degree: Social Sciences, 2017, University of New South Wales

URL: http://handle.unsw.edu.au/1959.4/57657 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:44479/SOURCE02?view=true

► The present study examines the electroacoustic music of Don Banks within the framework of a) previous analytical studies of his compositional process, and b) the… (more)

▼ The present study examines the electroacoustic music of Don Banks within the framework of a) previous analytical studies of his compositional process, and b) the impact of emerging music technologies. Like other composers of his time, Banks was influenced by trends and artistic ideas in Europe and North America in the post-war period. Under the tutelage of Matyas Seiber, Luigi Dallapiccola, Luigi Nono, and Milton Babbitt, Banks produced a number of post-tonal chamber works,which have become his most investigated pieces. However, by necessity, fortuity, and inclination, Banks also wrote in a variety of other styles. He was a leading performer of bebop in Australia and this interest eventually led to a number of third-stream works. After a move to London, he wrote a large amount of music for feature films and documentaries. The last ten years of Banks' life were devoted to the composition of electronic music and the design and promotion of music synthesisers and computers, which included the EMS VCS1 and VCS3 and the Australian Qasar II and Qasar Multimode 8. For a successful mid-career composer, an interest in electronic music was not only controversial, it was expensive and time-consuming. Given this unexpected change of direction, the 'how' and 'why' of Banks' electronic music became the focus of this thesis. Two questions were asked: what was Banks able to achieve with the use of electronic instruments that he could not achieve with acoustic instruments?; and, how did he incorporate this element into an already eclectic approach to composition? The study demonstrates that Banks' interest in electronic music was a purposeful movement towards obtaining the sounds he wanted, and an attempt to bring together a fractured musical oeuvre. As a result, Banks' musical fingerprint can now be acknowledged as considerably more rich and diverse than has been previously recognised. Advisors/Committee Members: Hooper, Michael, Faculty of Arts & Social Sciences, UNSW, Peterson, John, Faculty of Arts & Social Sciences, UNSW.

Subjects/Keywords: Electronic music; Don Banks; Australian music; Spectromorphology

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APA (6^th Edition):

Saintilan, N. (2017). The electronic music of Don Banks. (Doctoral Dissertation). University of New South Wales. Retrieved from http://handle.unsw.edu.au/1959.4/57657 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:44479/SOURCE02?view=true

Chicago Manual of Style (16^th Edition):

Saintilan, Nicole. “The electronic music of Don Banks.” 2017. Doctoral Dissertation, University of New South Wales. Accessed January 15, 2021. http://handle.unsw.edu.au/1959.4/57657 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:44479/SOURCE02?view=true.

MLA Handbook (7^th Edition):

Saintilan, Nicole. “The electronic music of Don Banks.” 2017. Web. 15 Jan 2021.

Vancouver:

Saintilan N. The electronic music of Don Banks. [Internet] [Doctoral dissertation]. University of New South Wales; 2017. [cited 2021 Jan 15]. Available from: http://handle.unsw.edu.au/1959.4/57657 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:44479/SOURCE02?view=true.

Council of Science Editors:

Saintilan N. The electronic music of Don Banks. [Doctoral Dissertation]. University of New South Wales; 2017. Available from: http://handle.unsw.edu.au/1959.4/57657 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:44479/SOURCE02?view=true

15. Gordon, David Eric. 1. Paintings as a Source of Musical Form, 2. A Portfolio of Compositions.

Degree: 2016, University of California – eScholarship, University of California

URL: http://www.escholarship.org/uc/item/9z72t979

► Part 1:While paintings, drawings, and sculptures have inspired composers and musicians since ancient times, before the modern era, they were rarely used specifically to generate… (more)

Subjects/Keywords: Music; Electronic Music; Music Composition; New Music; Painting; Transdisciplinary; Visual Art

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APA (6^th Edition):

Gordon, D. E. (2016). 1. Paintings as a Source of Musical Form, 2. A Portfolio of Compositions. (Thesis). University of California – eScholarship, University of California. Retrieved from http://www.escholarship.org/uc/item/9z72t979

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Gordon, David Eric. “1. Paintings as a Source of Musical Form, 2. A Portfolio of Compositions.” 2016. Thesis, University of California – eScholarship, University of California. Accessed January 15, 2021. http://www.escholarship.org/uc/item/9z72t979.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Gordon, David Eric. “1. Paintings as a Source of Musical Form, 2. A Portfolio of Compositions.” 2016. Web. 15 Jan 2021.

Vancouver:

Gordon DE. 1. Paintings as a Source of Musical Form, 2. A Portfolio of Compositions. [Internet] [Thesis]. University of California – eScholarship, University of California; 2016. [cited 2021 Jan 15]. Available from: http://www.escholarship.org/uc/item/9z72t979.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Gordon DE. 1. Paintings as a Source of Musical Form, 2. A Portfolio of Compositions. [Thesis]. University of California – eScholarship, University of California; 2016. Available from: http://www.escholarship.org/uc/item/9z72t979

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

16. Garcia, Anthony Paul. I: At Any Point: an analysis and reflection II: Portfolio of Compositions.

Degree: 2016, University of California – eScholarship, University of California

URL: http://www.escholarship.org/uc/item/4jr2s8bs

► I:The first portion of this document is an in-depth analysis and full score of my work, At Any Point, for viola solo, chamber ensemble, live… (more)

Subjects/Keywords: Music; Ableton; Audio Processing; Electronic Music; Music Composition; New Music

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APA (6^th Edition):

Garcia, A. P. (2016). I: At Any Point: an analysis and reflection II: Portfolio of Compositions. (Thesis). University of California – eScholarship, University of California. Retrieved from http://www.escholarship.org/uc/item/4jr2s8bs

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Garcia, Anthony Paul. “I: At Any Point: an analysis and reflection II: Portfolio of Compositions.” 2016. Thesis, University of California – eScholarship, University of California. Accessed January 15, 2021. http://www.escholarship.org/uc/item/4jr2s8bs.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Garcia, Anthony Paul. “I: At Any Point: an analysis and reflection II: Portfolio of Compositions.” 2016. Web. 15 Jan 2021.

Vancouver:

Garcia AP. I: At Any Point: an analysis and reflection II: Portfolio of Compositions. [Internet] [Thesis]. University of California – eScholarship, University of California; 2016. [cited 2021 Jan 15]. Available from: http://www.escholarship.org/uc/item/4jr2s8bs.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Garcia AP. I: At Any Point: an analysis and reflection II: Portfolio of Compositions. [Thesis]. University of California – eScholarship, University of California; 2016. Available from: http://www.escholarship.org/uc/item/4jr2s8bs

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of Western Ontario

17. Becker, Matthew David. ...and the songs of another... for Six Voices & Live Electronics.

Degree: 2018, University of Western Ontario

URL: https://ir.lib.uwo.ca/etd/5499

► …and the songs of another… is a composition of five songs for six voices and live electronics. Voice is the principal tool of sound generation,… (more)

Subjects/Keywords: Electronic music; electroacoustic music; contemporary music; vocal music; Composition

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APA (6^th Edition):

Becker, M. D. (2018). ...and the songs of another... for Six Voices & Live Electronics. (Thesis). University of Western Ontario. Retrieved from https://ir.lib.uwo.ca/etd/5499

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Becker, Matthew David. “...and the songs of another... for Six Voices & Live Electronics.” 2018. Thesis, University of Western Ontario. Accessed January 15, 2021. https://ir.lib.uwo.ca/etd/5499.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Becker, Matthew David. “...and the songs of another... for Six Voices & Live Electronics.” 2018. Web. 15 Jan 2021.

Vancouver:

Becker MD. ...and the songs of another... for Six Voices & Live Electronics. [Internet] [Thesis]. University of Western Ontario; 2018. [cited 2021 Jan 15]. Available from: https://ir.lib.uwo.ca/etd/5499.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Becker MD. ...and the songs of another... for Six Voices & Live Electronics. [Thesis]. University of Western Ontario; 2018. Available from: https://ir.lib.uwo.ca/etd/5499

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Columbia University

18. Holzborn, Damon Russell. Building Mobile Instruments for Improvised Musical Performance.

Degree: 2013, Columbia University

URL: https://doi.org/10.7916/D8GX4JXX

► This paper explores an approach to building electronic musical instruments for use in improvised music that I have found to be particularly effective for developing… (more)

Subjects/Keywords: Music; Improvisation (Music); Electronic musical instruments; Electronic musical instruments – Construction

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APA (6^th Edition):

Holzborn, D. R. (2013). Building Mobile Instruments for Improvised Musical Performance. (Doctoral Dissertation). Columbia University. Retrieved from https://doi.org/10.7916/D8GX4JXX

Chicago Manual of Style (16^th Edition):

Holzborn, Damon Russell. “Building Mobile Instruments for Improvised Musical Performance.” 2013. Doctoral Dissertation, Columbia University. Accessed January 15, 2021. https://doi.org/10.7916/D8GX4JXX.

MLA Handbook (7^th Edition):

Holzborn, Damon Russell. “Building Mobile Instruments for Improvised Musical Performance.” 2013. Web. 15 Jan 2021.

Vancouver:

Holzborn DR. Building Mobile Instruments for Improvised Musical Performance. [Internet] [Doctoral dissertation]. Columbia University; 2013. [cited 2021 Jan 15]. Available from: https://doi.org/10.7916/D8GX4JXX.

Council of Science Editors:

Holzborn DR. Building Mobile Instruments for Improvised Musical Performance. [Doctoral Dissertation]. Columbia University; 2013. Available from: https://doi.org/10.7916/D8GX4JXX

University of Melbourne

19. Dunscombe, Samuel Ekkehardt. Ruptured causality: laptop performance and the concert audience.

Degree: 2011, University of Melbourne

URL: http://hdl.handle.net/11343/36434

► This thesis examines the effect of the rupture of visual-aural causality on concert audiences at Laptop Performances. Laptop Performance has been criticised as unengaging, uninteresting,… (more)

Subjects/Keywords: laptop performance; electronic music; music performance; sound art; contemporary music; aesthetics of music; computer music

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APA (6^th Edition):

Dunscombe, S. E. (2011). Ruptured causality: laptop performance and the concert audience. (Masters Thesis). University of Melbourne. Retrieved from http://hdl.handle.net/11343/36434

Chicago Manual of Style (16^th Edition):

Dunscombe, Samuel Ekkehardt. “Ruptured causality: laptop performance and the concert audience.” 2011. Masters Thesis, University of Melbourne. Accessed January 15, 2021. http://hdl.handle.net/11343/36434.

MLA Handbook (7^th Edition):

Dunscombe, Samuel Ekkehardt. “Ruptured causality: laptop performance and the concert audience.” 2011. Web. 15 Jan 2021.

Vancouver:

Dunscombe SE. Ruptured causality: laptop performance and the concert audience. [Internet] [Masters thesis]. University of Melbourne; 2011. [cited 2021 Jan 15]. Available from: http://hdl.handle.net/11343/36434.

Council of Science Editors:

Dunscombe SE. Ruptured causality: laptop performance and the concert audience. [Masters Thesis]. University of Melbourne; 2011. Available from: http://hdl.handle.net/11343/36434

University of North Texas

20. Masone, Jolene. The Contemporary Bassoonist: Music for Interactive Electroacoustics and Bassoon.

Degree: 2016, University of North Texas

URL: https://digital.library.unt.edu/ark:/67531/metadc849603/

► As the bassoon has evolved over time, the music written for the instrument has evolved around it, and was many times the catalyst for its… (more)

Subjects/Keywords: Bassoon; Electronic music; Interactive electronics; Electroacoustic music; Bassoon and electronic music.; Computer music.; Music and technology.; Academic theses.

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Masone, J. (2016). The Contemporary Bassoonist: Music for Interactive Electroacoustics and Bassoon. (Thesis). University of North Texas. Retrieved from https://digital.library.unt.edu/ark:/67531/metadc849603/

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Masone, Jolene. “The Contemporary Bassoonist: Music for Interactive Electroacoustics and Bassoon.” 2016. Thesis, University of North Texas. Accessed January 15, 2021. https://digital.library.unt.edu/ark:/67531/metadc849603/.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Masone, Jolene. “The Contemporary Bassoonist: Music for Interactive Electroacoustics and Bassoon.” 2016. Web. 15 Jan 2021.

Vancouver:

Masone J. The Contemporary Bassoonist: Music for Interactive Electroacoustics and Bassoon. [Internet] [Thesis]. University of North Texas; 2016. [cited 2021 Jan 15]. Available from: https://digital.library.unt.edu/ark:/67531/metadc849603/.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Masone J. The Contemporary Bassoonist: Music for Interactive Electroacoustics and Bassoon. [Thesis]. University of North Texas; 2016. Available from: https://digital.library.unt.edu/ark:/67531/metadc849603/

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

UCLA

21. Hutson, William Moran. Sonic Affects: Experimental Electronic Music in Sound Art, Cinema, and Performance.

Degree: Theater and Performance Studies 09A2, 2015, UCLA

URL: http://www.escholarship.org/uc/item/8dj8t9dc

► The last decade has witnessed an increase in scholarly attention paid to experimental electronic music, especially the subgenres of sound art and noise music. Numerous… (more)

▼ The last decade has witnessed an increase in scholarly attention paid to experimental electronic music, especially the subgenres of sound art and noise music. Numerous books, articles, and conferences have taken up these topics as objects of study. However, only a small amount of that work has focused on the music’s relationship to affect, identification, and cultural history. There remains in some disciplines an assumption that examples of experimental electronic music are either dryly formal demonstrations of art-for-art’s-sake, or essentially resistant to legibility and meaning. The more “abstract” and “difficult” a piece appears on first glance, the more likely it will be seen to retreat from social and political concerns. This dissertation considers specific works of experimental electronic music through the lenses of affect theory, performance studies, sound studies, cultural studies, and other related approaches to argue for a perspective that more thoroughly accounts for the human in the electronic. The dissertation’s case studies are selected from a variety of different media. Chapter 1 addresses four historically significant works of sound art that each take a technological or physical property of sound as a guiding compositional principle. The chapter considers the ways these pieces can be heard to signify beyond their “modernist” strategies with attention both to the affective experiences of hearing the works, and the sociopolitical contexts of their creation. Chapter 2 outlines a selective history of noise music through the vacillation between opposing poles of “noise” and “music.” The chapter contains a sustained analysis of Macronympha’s Pittsburgh, Pennsylvania (1995) that investigates the titular city’s deindustrialization and the affects of anger and disappointment that animate the album’s representations of “white trash” masculinity. Chapter 3 examines diegetic appearances of experimental electronic music in two films—Lipstick (1976), and Bewildered Youth (1957)—in which the music is made to signify sexual perversion and criminality. Using Susan McClary’s notion of gendered structures in western tonal music, I argue that, in these cases, music that rejects tonality becomes characterized by a failure to adequately perform “normal” gender. Finally, Chapter 4 engages examples of extreme performance art with a particular focus on the significance of recorded audio in the documentation of John Duncan’s Blind Date (1980). All four chapters prioritize close readings of audio compositions to interrogate the dense bundles of affect and meaning they generate.

Subjects/Keywords: Performing arts; Music; Affect; Electronic Music; Experimental Music; Performance Art

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Hutson, W. M. (2015). Sonic Affects: Experimental Electronic Music in Sound Art, Cinema, and Performance. (Thesis). UCLA. Retrieved from http://www.escholarship.org/uc/item/8dj8t9dc

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Hutson, William Moran. “Sonic Affects: Experimental Electronic Music in Sound Art, Cinema, and Performance.” 2015. Thesis, UCLA. Accessed January 15, 2021. http://www.escholarship.org/uc/item/8dj8t9dc.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Hutson, William Moran. “Sonic Affects: Experimental Electronic Music in Sound Art, Cinema, and Performance.” 2015. Web. 15 Jan 2021.

Vancouver:

Hutson WM. Sonic Affects: Experimental Electronic Music in Sound Art, Cinema, and Performance. [Internet] [Thesis]. UCLA; 2015. [cited 2021 Jan 15]. Available from: http://www.escholarship.org/uc/item/8dj8t9dc.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Hutson WM. Sonic Affects: Experimental Electronic Music in Sound Art, Cinema, and Performance. [Thesis]. UCLA; 2015. Available from: http://www.escholarship.org/uc/item/8dj8t9dc

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of Alabama

22. Chong, Ten Yeen. Dialectic (ii) for soprano, flute, and piano.

Degree: 2014, University of Alabama

URL: http://purl.lib.ua.edu/116183

► Dialectic (II) is a multi-movement chamber piece for soprano, flute, and piano set to a poem of the same name, written by writer and musician… (more)

Subjects/Keywords: Electronic Thesis or Dissertation; – thesis; Music; Chamber music; Music

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Chong, T. Y. (2014). Dialectic (ii) for soprano, flute, and piano. (Thesis). University of Alabama. Retrieved from http://purl.lib.ua.edu/116183

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Chong, Ten Yeen. “Dialectic (ii) for soprano, flute, and piano.” 2014. Thesis, University of Alabama. Accessed January 15, 2021. http://purl.lib.ua.edu/116183.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Chong, Ten Yeen. “Dialectic (ii) for soprano, flute, and piano.” 2014. Web. 15 Jan 2021.

Vancouver:

Chong TY. Dialectic (ii) for soprano, flute, and piano. [Internet] [Thesis]. University of Alabama; 2014. [cited 2021 Jan 15]. Available from: http://purl.lib.ua.edu/116183.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Chong TY. Dialectic (ii) for soprano, flute, and piano. [Thesis]. University of Alabama; 2014. Available from: http://purl.lib.ua.edu/116183

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of Alabama

23. Powell, Hilen. An analysis of factors influencing undergraduate acceptance, matriculation, and success in music theory in the school of music at The University of Alabama.

Degree: 2013, University of Alabama

URL: http://purl.lib.ua.edu/97229

► The purpose of this study was to seek to identify and assess factors that contributed to undergraduate student acceptance, matriculation, and success in MUS 115,… (more)

▼ The purpose of this study was to seek to identify and assess factors that contributed to undergraduate student acceptance, matriculation, and success in MUS 115, Music Theory, during the academic years of 2008-12. Data were (a) student ACT test scores, (b) SOM Audition Diagnostic Exam scores, and (c) final grades for students who registered in MUS 115 during the years 2008-12. Student gender, major, performing medium, home state and scholarship offer was also included in the analysis. Research questions were: (1) To what extent did student gender, major, performing medium, home state, diagnostic exam score, standardized test score and scholarship offer affect student acceptance to the University of Alabama School of Music (UA SOM)? (2) To what extent did student gender, major, performing medium, home state, diagnostic exam score, standardized test score and scholarship offer affect matriculation to the UA SOM? (3) To what extent did student gender, major, performing medium, home state, diagnostic exam score, scholarship offer, standardized test score and diagnostic exam score affect success in Theory I? (4) What was the mean diagnostic exam score of accepted students by performing medium and major? (5) What was the mean standardized test score of accepted students by performing medium and major? (6) What is the percentage of success in MUS 115, Music Theory, of matriculated students by performing medium and major? Data for this study were provided as a numeric data set with student names and other identifying information removed. The database included standardized test scores, Music Audition Diagnostic Exam scores, high-school grade point average, declared major, home state, gender, and principal instrument. Results were reported as they related to changes and trends over time. The results suggested (a) home state, performing medium, and major influenced success in Theory I, (b) diagnostic exam scores did not appear to affect acceptance, matriculation, or success in Theory I, and (c) standardized test scores influence success at the freshman level. The results gathered from this study will be helpful in better identifying students with the potential to succeed in the School of Music at the University of Alabama. (Published By University of Alabama Libraries) Advisors/Committee Members: Latimer, Marvin, Cevasco, Andrea, Fleming, Susan, Witt, Anne, University of Alabama. Dept. of Curriculum and Instruction.

Subjects/Keywords: Electronic Thesis or Dissertation; – thesis; Music education; Music; music theory; undergraduate

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Powell, H. (2013). An analysis of factors influencing undergraduate acceptance, matriculation, and success in music theory in the school of music at The University of Alabama. (Thesis). University of Alabama. Retrieved from http://purl.lib.ua.edu/97229

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Powell, Hilen. “An analysis of factors influencing undergraduate acceptance, matriculation, and success in music theory in the school of music at The University of Alabama.” 2013. Thesis, University of Alabama. Accessed January 15, 2021. http://purl.lib.ua.edu/97229.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Powell, Hilen. “An analysis of factors influencing undergraduate acceptance, matriculation, and success in music theory in the school of music at The University of Alabama.” 2013. Web. 15 Jan 2021.

Vancouver:

Powell H. An analysis of factors influencing undergraduate acceptance, matriculation, and success in music theory in the school of music at The University of Alabama. [Internet] [Thesis]. University of Alabama; 2013. [cited 2021 Jan 15]. Available from: http://purl.lib.ua.edu/97229.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Powell H. An analysis of factors influencing undergraduate acceptance, matriculation, and success in music theory in the school of music at The University of Alabama. [Thesis]. University of Alabama; 2013. Available from: http://purl.lib.ua.edu/97229

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Brunel University

24. Katan, Simon. Sight, sound, the chicken and the egg : audio-visual co-dependency in music.

Degree: PhD, 2012, Brunel University

URL: http://bura.brunel.ac.uk/handle/2438/7643 ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.582886

► Amongst the modern day abundance of audio-visual media, where sounds represent everything from the swooping of virtual cameras through 3D spaces to the pressing of… (more)

▼ Amongst the modern day abundance of audio-visual media, where sounds represent everything from the swooping of virtual cameras through 3D spaces to the pressing of buttons and receiving of emails, and conversely where VJs routinely accompany live musical performance with an increasingly sophisticated language of abstract computer animation, the notion of music as a necessarily exclusively aural medium seems somewhat out of place. Psychological theories relating to the cognition of sound, in particular physical schema, accounting for the ubiquity of vertical plane pitch metaphors in most musical cultures, provide evidence of a deep-rooted spatially informed understanding of sound thus providing a common ground for both sound and vision in music. Furthermore, Western Classical composition is rife with examples of visually conceived forms from Bach’s Crab Canon (1747) to Xenakis’ architecturally inspired Metastasis (1954). However, in practice the gap between the listener’s auditory experience and the composer’s visual concept is often insurmountable. Rising to Schaeffer’s call for “Primacy to the ear!” (Schaeffer, 1967, pp. 28-30), acousmatic composers have sought to derive music exclusively from experientially verifiable criteria. However, in its pervasiveness of other musical genres, no doubt aided by technologically and commercially driven domination of the pre-recorded over the live listening experience in the latter half of the twentieth century, such an approach has lead to the neglect of visual aspects in the live performance of much art-music. This research aims to begin to redress this balance through the composition of, largely computer realised, audio-visual works whose conception arises not from a superimposition of one medium upon another, but through the very relations between the media themselves. Utilising modern computers’ ability to synchronise physical and virtual visual events with synthesised sound in real time not only affords composers an invaluable tool for enhancing listener’s perception of formal structures but also implies causal relationships between the sonic and the visual which can provide a base of intuitive understanding on which more complex formal ideas can be built.

Subjects/Keywords: 700; Music; Audio-visual; Electronic music; Audio-visual codependency; Computer music

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APA (6^th Edition):

Katan, S. (2012). Sight, sound, the chicken and the egg : audio-visual co-dependency in music. (Doctoral Dissertation). Brunel University. Retrieved from http://bura.brunel.ac.uk/handle/2438/7643 ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.582886

Chicago Manual of Style (16^th Edition):

Katan, Simon. “Sight, sound, the chicken and the egg : audio-visual co-dependency in music.” 2012. Doctoral Dissertation, Brunel University. Accessed January 15, 2021. http://bura.brunel.ac.uk/handle/2438/7643 ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.582886.

MLA Handbook (7^th Edition):

Katan, Simon. “Sight, sound, the chicken and the egg : audio-visual co-dependency in music.” 2012. Web. 15 Jan 2021.

Vancouver:

Katan S. Sight, sound, the chicken and the egg : audio-visual co-dependency in music. [Internet] [Doctoral dissertation]. Brunel University; 2012. [cited 2021 Jan 15]. Available from: http://bura.brunel.ac.uk/handle/2438/7643 ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.582886.

Council of Science Editors:

Katan S. Sight, sound, the chicken and the egg : audio-visual co-dependency in music. [Doctoral Dissertation]. Brunel University; 2012. Available from: http://bura.brunel.ac.uk/handle/2438/7643 ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.582886

University of Washington

25. Eaton, Kaley Lane. lily [bloom in my darkness]: an electroacoustic opera.

Degree: 2017, University of Washington

URL: http://hdl.handle.net/1773/40273

► Lily [bloom in my darkness] is a 35-minute electroacoustic opera for voice, live electronic processing, pulse sensors, two violas, saxophone doubling clarinet, electric harp, piano,… (more)

Subjects/Keywords: composition; electroacoustic; electronic; large ensemble; music; opera; Music; Music

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APA (6^th Edition):

Eaton, K. L. (2017). lily [bloom in my darkness]: an electroacoustic opera. (Thesis). University of Washington. Retrieved from http://hdl.handle.net/1773/40273

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Eaton, Kaley Lane. “lily [bloom in my darkness]: an electroacoustic opera.” 2017. Thesis, University of Washington. Accessed January 15, 2021. http://hdl.handle.net/1773/40273.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Eaton, Kaley Lane. “lily [bloom in my darkness]: an electroacoustic opera.” 2017. Web. 15 Jan 2021.

Vancouver:

Eaton KL. lily [bloom in my darkness]: an electroacoustic opera. [Internet] [Thesis]. University of Washington; 2017. [cited 2021 Jan 15]. Available from: http://hdl.handle.net/1773/40273.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Eaton KL. lily [bloom in my darkness]: an electroacoustic opera. [Thesis]. University of Washington; 2017. Available from: http://hdl.handle.net/1773/40273

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of Cincinnati

26. Shiota, Kazuaki. The Signals From the Starlight.

Degree: M.M., College-Conservatory of Music : Composition, 2006, University of Cincinnati

URL: http://rave.ohiolink.edu/etdc/view?acc_num=ucin1152730522

► The focal point of the piece is the alteration of communications. Through the communication of the two people, their relationship may change as times goes… (more)

Subjects/Keywords: Music; electronic music; electroacoustic music

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APA (6^th Edition):

Shiota, K. (2006). The Signals From the Starlight. (Masters Thesis). University of Cincinnati. Retrieved from http://rave.ohiolink.edu/etdc/view?acc_num=ucin1152730522

Chicago Manual of Style (16^th Edition):

Shiota, Kazuaki. “The Signals From the Starlight.” 2006. Masters Thesis, University of Cincinnati. Accessed January 15, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1152730522.

MLA Handbook (7^th Edition):

Shiota, Kazuaki. “The Signals From the Starlight.” 2006. Web. 15 Jan 2021.

Vancouver:

Shiota K. The Signals From the Starlight. [Internet] [Masters thesis]. University of Cincinnati; 2006. [cited 2021 Jan 15]. Available from: http://rave.ohiolink.edu/etdc/view?acc_num=ucin1152730522.

Council of Science Editors:

Shiota K. The Signals From the Starlight. [Masters Thesis]. University of Cincinnati; 2006. Available from: http://rave.ohiolink.edu/etdc/view?acc_num=ucin1152730522

The Ohio State University

27. Montague, Stephen. Voussoirs for large orchestra and electronic tapes.

Degree: PhD, Graduate School, 1972, The Ohio State University

URL: http://rave.ohiolink.edu/etdc/view?acc_num=osu1486736094430975

Subjects/Keywords: Music; Orchestra music; Electronic music

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Montague, S. (1972). Voussoirs for large orchestra and electronic tapes. (Doctoral Dissertation). The Ohio State University. Retrieved from http://rave.ohiolink.edu/etdc/view?acc_num=osu1486736094430975

Chicago Manual of Style (16^th Edition):

Montague, Stephen. “Voussoirs for large orchestra and electronic tapes.” 1972. Doctoral Dissertation, The Ohio State University. Accessed January 15, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486736094430975.

MLA Handbook (7^th Edition):

Montague, Stephen. “Voussoirs for large orchestra and electronic tapes.” 1972. Web. 15 Jan 2021.

Vancouver:

Montague S. Voussoirs for large orchestra and electronic tapes. [Internet] [Doctoral dissertation]. The Ohio State University; 1972. [cited 2021 Jan 15]. Available from: http://rave.ohiolink.edu/etdc/view?acc_num=osu1486736094430975.

Council of Science Editors:

Montague S. Voussoirs for large orchestra and electronic tapes. [Doctoral Dissertation]. The Ohio State University; 1972. Available from: http://rave.ohiolink.edu/etdc/view?acc_num=osu1486736094430975

University of Iowa

28. Palamara, Jason Andrew. Dysphonia, for solo violin, chamber ensemble and live electronics.

Degree: PhD, Music, 2015, University of Iowa

URL: https://ir.uiowa.edu/etd/1718

► DYSPHONIA is a music and dance work, for violin soloist with a live chamber orchestra, including multiple laptops and a custom-built gesture detection system… (more)

Subjects/Keywords: publicabstract; Electroacoustic Music; Electronic Music; Live Electronics; Modern Dance; Music for Dance; Wearable Electronics; Music

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APA (6^th Edition):

Palamara, J. A. (2015). Dysphonia, for solo violin, chamber ensemble and live electronics. (Doctoral Dissertation). University of Iowa. Retrieved from https://ir.uiowa.edu/etd/1718

Chicago Manual of Style (16^th Edition):

Palamara, Jason Andrew. “Dysphonia, for solo violin, chamber ensemble and live electronics.” 2015. Doctoral Dissertation, University of Iowa. Accessed January 15, 2021. https://ir.uiowa.edu/etd/1718.

MLA Handbook (7^th Edition):

Palamara, Jason Andrew. “Dysphonia, for solo violin, chamber ensemble and live electronics.” 2015. Web. 15 Jan 2021.

Vancouver:

Palamara JA. Dysphonia, for solo violin, chamber ensemble and live electronics. [Internet] [Doctoral dissertation]. University of Iowa; 2015. [cited 2021 Jan 15]. Available from: https://ir.uiowa.edu/etd/1718.

Council of Science Editors:

Palamara JA. Dysphonia, for solo violin, chamber ensemble and live electronics. [Doctoral Dissertation]. University of Iowa; 2015. Available from: https://ir.uiowa.edu/etd/1718

29. Jurkowski, Nicholas Wright. Joining Forces in Technology: Three Analytical Case Studies of Early Corporate-Sponsored Electronic Music.

Degree: 2017, University of California – eScholarship, University of California

URL: http://www.escholarship.org/uc/item/32m6c5w9

► The close of World War II and the advent of the Cold War had effects far beyond the oft-explored realms of global alliances and domestic… (more)

Subjects/Keywords: Music theory; Music history; Music; Babbitt; Electronic; Kagel; Mode 2; Music; Takemitsu

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APA (6^th Edition):

Jurkowski, N. W. (2017). Joining Forces in Technology: Three Analytical Case Studies of Early Corporate-Sponsored Electronic Music. (Thesis). University of California – eScholarship, University of California. Retrieved from http://www.escholarship.org/uc/item/32m6c5w9

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Jurkowski, Nicholas Wright. “Joining Forces in Technology: Three Analytical Case Studies of Early Corporate-Sponsored Electronic Music.” 2017. Thesis, University of California – eScholarship, University of California. Accessed January 15, 2021. http://www.escholarship.org/uc/item/32m6c5w9.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Jurkowski, Nicholas Wright. “Joining Forces in Technology: Three Analytical Case Studies of Early Corporate-Sponsored Electronic Music.” 2017. Web. 15 Jan 2021.

Vancouver:

Jurkowski NW. Joining Forces in Technology: Three Analytical Case Studies of Early Corporate-Sponsored Electronic Music. [Internet] [Thesis]. University of California – eScholarship, University of California; 2017. [cited 2021 Jan 15]. Available from: http://www.escholarship.org/uc/item/32m6c5w9.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Jurkowski NW. Joining Forces in Technology: Three Analytical Case Studies of Early Corporate-Sponsored Electronic Music. [Thesis]. University of California – eScholarship, University of California; 2017. Available from: http://www.escholarship.org/uc/item/32m6c5w9

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of Kansas

30. Hansen, Von Elton. An Introduction to Interactive Music for Percussion and Computers.

Degree: DMA, Music, 2014, University of Kansas

URL: http://hdl.handle.net/1808/15513

► Composers began combining acoustic performers with electronically produced sounds in the early twentieth century. As computer-processing power increased the potential for significant musical communication was… (more)

▼ Composers began combining acoustic performers with electronically produced sounds in the early twentieth century. As computer-processing power increased the potential for significant musical communication was developed. Despite the body of research concerning electronic music, performing a composition with a computer partner remains intimidating for performers. The purpose of this paper is to provide an introductory method for interacting with a computer. This document will first follow the parallel evolution of percussion and electronics in order to reveal how each medium was influenced by the other. The following section will define interaction and explain how this is applied to musical communication between humans and computers. The next section introduces specific techniques used to cultivate human-computer interaction. The roles of performer, instrument, composer and conductor will then be defined as they apply to the human performer and the computer. If performers are aware of these roles they will develop richer communication that can enhance the performer's and audience member's recognition of human-computer interaction. In the final section, works for percussion and computer will be analyzed to reveal varying levels of interaction and the shifting roles of the performer. Three compositions will illustrate this point, 120bpm from neither Anvil nor Pulley by Dan Trueman, It's Like the Nothing Never Was by Von Hansen, and Music for Snare Drum and Computer by Cort Lippe. These three pieces develop a continuum of increasing interaction, moving from interaction within a fully defined score, to improvisation with digital synthesis, to the manipulation of computerized compositional algorithms using performer input. The unique ways each composer creates interaction will expose the vast possibilities for performing with interactive music systems. Advisors/Committee Members: Haaheim, Bryan (advisor), Jung, Ji Hye (advisor), Pierce, Forrest (cmtemember), Watson, Scott (cmtemember), Dakon, Jacob (cmtemember).

Subjects/Keywords: Music; computer music; Cort Lippe; Dan Trueman; electronic music; interactive music; percussion

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Hansen, V. E. (2014). An Introduction to Interactive Music for Percussion and Computers. (Doctoral Dissertation). University of Kansas. Retrieved from http://hdl.handle.net/1808/15513

Chicago Manual of Style (16^th Edition):

Hansen, Von Elton. “An Introduction to Interactive Music for Percussion and Computers.” 2014. Doctoral Dissertation, University of Kansas. Accessed January 15, 2021. http://hdl.handle.net/1808/15513.

MLA Handbook (7^th Edition):

Hansen, Von Elton. “An Introduction to Interactive Music for Percussion and Computers.” 2014. Web. 15 Jan 2021.

Vancouver:

Hansen VE. An Introduction to Interactive Music for Percussion and Computers. [Internet] [Doctoral dissertation]. University of Kansas; 2014. [cited 2021 Jan 15]. Available from: http://hdl.handle.net/1808/15513.

Council of Science Editors:

Hansen VE. An Introduction to Interactive Music for Percussion and Computers. [Doctoral Dissertation]. University of Kansas; 2014. Available from: http://hdl.handle.net/1808/15513

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Open Access Theses and Dissertations