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.
Wei Tuck Chan holds undergraduate and graduate degrees in piano
performance from West Virginia University. His principle piano teachers
were Seok Ching Cheng, Yin Hwa Lee, Christine Kefferstan, and James
Miltenberger. He studied electroacoustic composition with David
Taddie. (excerpt from the work below)