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dc.contributor.authorRansom, Jacob
dc.date.accessioned2018-03-26T23:42:15Z
dc.date.available2018-03-26T23:42:15Z
dc.date.issued2016-05
dc.identifier.urihttp://hdl.handle.net/11122/8210
dc.descriptionMaster's Project (M.Mu.) University of Alaska Fairbanks, 2016en_US
dc.description.abstractThe Electroacoustic pieces; Temazcal (1984), by Javier Alvarez (b.1956), and Memory Palace (2012) by Christopher Cerrone (b.1984), each employ different types of electronic technologies in their realization through performance. This paper will discuss the origin and history of the technology applied respectively in the works. I will examine the role of percussion within the works, specifically in regards to learning and problem solving through technological challenges in order to effectively perform the compositions. By looking at Temazcal and Memory Palace through the context of their historical significance as electroacoustic works, the inherent functionality of the technology employed in each, and the resultant performance practices that have subsequently developed, a greater musical appreciation and understanding of electroacoustic works, in general, is possible.en_US
dc.language.isoen_USen_US
dc.subjectAlvarez, Javieren_US
dc.subject1956-en_US
dc.subjectTemazcalen_US
dc.subjectCriticism and interpretationen_US
dc.subjectCerrone, Christopheren_US
dc.subjectMemory palaceen_US
dc.titleFunctionality and history of electronics in regards to the performance practice of the following works: Temazcal (1984), Javier Álvarez, and Memory Palace (2012), Christopher Cerroneen_US
dc.typeOtheren_US
dc.type.degreemmu
dc.identifier.departmentDepartment of Music
dc.contributor.chairPalter, Morris
dc.contributor.committeeZilberkant, Eduard
dc.contributor.committeePost, William
refterms.dateFOA2020-03-05T15:10:33Z


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