Document Type

Article

Publication Date

2004

Publication Title

Bass World

Volume

28

Issue

1

First Page

13

Last Page

17

Abstract

The rise of the academy as patron of art music, the philosophical underpinnings of "futurists" like Russolo and Busoni, the increasing power and cost-effectiveness of computer-based systems and the new compositional directions of the Post World War II avant-garde have all contributed to establishing the genre of electroacoustic music in the United States. Composers have increasingly turned to electronics for new source material and as a result, there is an entirely new repertoire that was generated to take advantage of the emerging technologies and aesthetics. For the double bass, this new repertoire included compositions like Jacob Druckman's Synapse/Valentine (1969), Charles Whittenberg's Electronic Study II (1962), and Donald Erb's Basspiece (1969). In recent decades, composers have added to the repertoire. Many composers should be recognized for their contributions to electroacoustic double bass repertoire, but some merit more than a passing reference. Of particular interest are Death of Desdemona (1987) by Frank Proto, Moby Bass (1975) by David Neubert, Birth of Venus (1990) by Christos Hatzis, Three Pieces for Double Bass and Tape (1990) by Orlando Jacinto Garcia, Radio Sonata (1982) by James Sellars, and Mist (1997) by Robert Gibson. Additionally, a number of double bass soloists have championed the cause by commissioning, promoting and regularly performing electroacoustic music. Two of the most prominent double bassists in this repertoire are Bertram Turetzky and Robert Black.

Comments

© 2004 Jeremy C. Baguyos

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