Electroacoustic Music for the Flute

TABLE OF CONTENTS

• Chapter I: ELECTROACOUSTIC MUSIC FOR FLUTE
  • Introduction
  • The Definition of Electroacoustic Music
  • Flute and Tape Pieces as a Sub-genre
  • The Impact of Electroacoustic Music

• Chapter II: A BRIEF HISTORICAL BACKGROUND

• Chapter III: A PRACTICAL APPROACH TO ELECTROACOUSTIC MUSIC FOR FLUTE
  • Relationship between Tape and Player
  • Conception of Electroacoustic Pieces
  • Electronic Sounds
  • Scores
  • Extended Techniques
  • Practice Techniques
  • Musical Analysis
  • Relationship with the Composer

• Chapter IV: MARIO DAVIDOVSKY: SYNCHRONISMS NO. 1
  • Biography / Background of composer
  • Overveiw
  • Form
  • Electronic sounds
  • Pitch / Intervals
  • Rhythm
  • Register / Range
  • Dynamics / Texture
  • Notation
  • Extended techniques
  • Synchronization
  • Approach to Practice and Performance

• Chapter V: RICHARD KARPEN: EXCHANGE
  • Biography / Background of Composer
  • Overview
  • Computer sounds
  • Form
  • Pitch / Intervals
  • Rhythm
  • Register / Range
  • Dynamics
  • Extended Techniques
  • Notation
  • Synchronization
  • Approach to practice and performance

• Chapter VI: DIANE THOME: BRIGHT AIR / BRILLIANT FIRE
  • Biography and Background of the Composer
  • Overview
  • Formal Structure
  • Pitch Content in Section A
  • Thematic Material in Section A
  • Interval Content in Section A
  • Pitch Content in Section B
  • Interval Content in Section B
  • Thematic Material in Section B
  • Pitch Content in Section C
  • Interval Content in Section C
  • Pitch in the Computer Part
  • Sounds of the Computer Part
  • Rhythmic Content and Movement through Time
  • Register / Range
  • Dynamics
  • Extended techniques
  • Notation
  • Synchronization
  • Approach to practice and performance
  • Special considerations

• Chapter VII: BRET BATTEY: PATER NOSTER'S TRICYCLIC COMPANION
  • Biography and Background of the Composer
  • Overview
  • Form
  • Rhythm
  • Pitch / Intervals
  • Register / Range
  • Dynamics
  • Texture
  • Extended techniques
  • Notation
  • Synchronization
  • Approach to practice and performance

• Chapter VIII: LINDA ANTAS: A RIVER FROM THE WALLS
  • Biography and Background of the Composer
  • Overview
  • Form
  • Pitch / Interval Content / Gestures
  • Rhythm
  • Register / Range
  • Dynamics
  • Notation
  • Extended techniques
  • Synchronization
  • Special considerations

• Chapter IX: OTHER PROPONENTS OF ELECTROACOUSTIC WORKS FOR FLUTE

• Chapter X: PROGRAMMING AND PERFORMING ELECTROACOUSTIC MUSIC
  • Programming and Performing
  • Technical needs

• Chapter XI: CONCLUSION

• Bibliography

• Appendices:
  • Appendix A: List of Works by Mario Davidovsky
  • Appendix B: Selected Discography of Works by Mario Davidovsky
  • Appendix C: List of Works by Richard Karpen
  • Appendix D: Discography of Works by Richard Karpen
  • Appendix E: List of Works by Diane Thome
  • Appendix F: Discography of Works by Diane Thome
  • Appendix G: List of Works by Bret Battey
  • Appendix H: Discography of Works by Bret Battey
  • Appendix I: List of Works by Linda Antas
  • Appendix J: Discography of Works by Linda Antas
  • Appendix K: List of Works of Electroacoustic Music for Solo Flute and Electronics

• Vita