Brian Bevelander's Synthecisms No. 2 of 1990, dedicated to and premiered by pianist Philip Mead, showcase performance challenges and technical demands of the performer.
The author discusses electroacoustic music from its inception, leading to the establishing of many studios in universities across the United States and abroad.
The original tape part in Bevelander's Synthecisms No. 2 requires the starting and stopping of the tape, involving assistance in operating the tape playback. The author examines the structure, stylistic, and thematic materials of Bevelander's work, and suggests the possibility of performance of the work without an assistant using more current technology.
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