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Introductory Remarks (July 2005): Philip Sinder In his comments preceding the Tuba and Tape chapter from the first edition of The Tuba Source Book, editor Jeffrey Funderburk suggested that this chapter might be more accurately labeled (in future years) in such a way as to represent a wider range of playback formats (tape, compact disc, digital audio tape, etc.) as well as to incorporate the small number of works found employing electronics which are controlled and manipulated in a live manner during performance. So, the chapter has been officially renamed. The Tuba Source Book listed 53 works in this medium. I have uncovered an additional 28 compositions , plus provided complete annotations for 3 works that were cited in the first edition. As with many unaccompanied works, compositions for tuba and electronic media tend to be more difficult in nature—targeted for advanced undergraduate and graduate students, as well as professionals. The portability of these works, as well as the infinite array of colors and musical materials available to the composer working in this medium , stand to provide the tubist with considerable options for a recital vehicle. The performer must strive to maintain the musical integrity and interest of each work. I am grateful to all who provided assistance in the update to this chapter, especially Neal Corwell , Sergio Carolino, Steve Rosse, and James Gourlay. Introductory Remarks (July 1995): Jeffrey L. Funderburk The medium described as tuba and tape is actually expanding to include tuba and electronic media of greater variety. With the increasing capabilities of the current generation of synthesizers and developments in electronic music, it is expected that there will be a significant increase in composition within this medium in coming years. This is particularly welcomed by many tubists who have never been totally satisfied with the acoustic combination of tuba and piano. This medium combines the independence of the unaccompanied medium with a much broader tonal palate provided by the tape or electronic accompaniment . Unfortunately, it would appear that these works have not been as successful as works in other mediums in securing publication. For this reason,mostoftheseworksareavailablefromvery small publishers or directly from the composer. It is hoped that with greater attention by performers and an increase in compositions, these works will become more available in coming years. This medium offers a truly unlimited potential for the tubist and can be one of the most interesting and exciting areas of performance and programming available to the soloist. I would like to thank Barton Cummings, who was particularly helpful in identifying works in this area and provided information on several of the works included here. Ayers, Jesse. The Dancing King. TUBA Press. 1991. $15.00. 6:00. IV–V. F1–g'. One movement. For Frank Banton. This work utilizes a taperecorded synthesized accompaniment. This is a rhythmically very driving work in an almost popular style. The tape provided contains several versions, including an accompaniment track for performance, a performance track which has a synthesized tuba sound performing the solo part, and a slow practice track. The technical challenges in the work are substantial primarily due to extended passages of rapid sixteenth notes. A weakness of the piece is the lack of a score which represents the tape part. Complex meters and a severe lack of rests make this an even more difficult work. Bales, Kenton. Collage 3 for Solo Tuba and Electronics . Manuscript, available from the composer. The electronic component on this work consists of processed live sounds. 6. Music for Tuba and Electronic Media Philip Sinder, Assistant Editor, Guide to the Tuba Repertoire: The New Tuba Source Book Jeffrey L. Funderburk, Assistant Editor, The Tuba Source Book 250 G U I D E T O T H E T U B A R E P E R T O I R E Bark, Jan. Malumna (Music-Theatre for Tuba and Tape). Swedish Music Information Center. Báthory-Kitsz, Dennis. Llama Butter. Westleaf Editions . 1993. 23:00. IV–V. D1–c'. One movement . Commissioned by Mark Nelson. In addition to the tuba and tape, this piece has two recommended stage settings, and the score suggests that dancers should be used as well. Careful instructions are provided for staging and costuming. The tape primarily provides environmental sounds—a combination of breathing sounds, viols, vocalizations, and animal sounds. The tuba part is synchronized by timings and the tuba score does not attempt to give a graphic rendering of the tape. Most of the tuba...

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