Scooping the Moon is a tone poem for chamber orchestra. It was commissioned by the Phiharmonia Orchestra in 1995. In this work I set out to combine serial and modal techniques in an integrated way. The Copper Mirror is an epic opera based on a Chinese opera with lyrics written by Li Jing in 1566. In this work I developed a system of inflectional modes. This English version is translated and rearranged by me with the co-operation of Mr. Jack Shea. The text setting was assisted by Mr. Leon Coates. Graphics is an orchestral work exploring serial technique in which I explored the <I>contextual theory</I> for the first time. A Garden City is a chamber work for clarinet quintet in which I explored the <I>inverted modes of limited transposition.</I> Landscapes of the Dream is the original musical for the experimental film of the same title, produced and directed by Lin Tai-jou. The music was composed according to Lin's storyboard which is presented as an appendix. Waves is a further example of film music (also written for Lin Tai-jou) in which I applied serial music technique in the content of film and tried to integrate film and music in a detailed storyboard. I calculated the timing of events in the film and composed music precisely for the drama. The music score includes musical notation, and dialogue and pictures from the storyboard. The original storyboard is enclosed as appendices. Nuance is an orchestral work in which I explored the possibilities of combining <I>inverted modes of limited transposition </I>and the <I>contextual serial system </I>as a full-scale technique. This includes extracting serial sets from scales, deriving scales from serial sets, and bringing both into integration.

The primary aim of this study is to utilise Messiah as a case study into Handel's creative process, attempting to examine details of its composition in chronological order, for the purposes of exposing and exploring Handel's creative decisions and methods. This means that the study is divided into chronological sections and, as the creation of the libretto of Messiah is inextricably linked to the creation of the musical work, the study begins with an investigation into the cultural precedents to the libretto of Messiah, the libretto's genesis and Charles Jennens's aim in (and method of) constructing it. Sketches and other 'pre-compositional' material form the next stage for discussion, raising the issue of Handel's well-known propensity to re-use his own and others' music. Handel's methods of creating the autograph score are then outlined in preparation for an analysis of the alterations that he made to the autograph during the work's initial composition. The focus then shifts towards the conducting score for an exploration of the various types of later alteration that some movements in particular were subjected to, examining Handel's reasons for selecting movements for alteration, the possible circumstances behind the changes and his methods of marking alterations in both the autograph and conducting scores, before assessing the role of these later alterations as part of the work's creation.

Summary of portfolio This Portfolio of Compositions consists of six works diverse in style and genre. It represents a journey of exploration through the traditional music of various cultures, imbruing those distinctive flavours of tone, colour and rhythm into my own approach and sound world. 1. Another World A three movement work for brass quintet with its basis found in fragments of an original melody, Eternal God written by the late Leslie Condon. It is further influenced by my fascination with musical impressionism and minimalism. The piece explores the sonorities of the brass instruments as well as the technical capabilities of the players. 2. Hope A major work for brass band in three movements exploring the colours of Middle Eastern music through the genre of brass and percussion. The piece is programmatic essentially, reflecting on the nature of war and the plight of the innocents caught up in war. It was premiered by the New York Staff Band of The Salvation Army at the Queen Elizabeth Hall, London in January 2010. 3. Soul Origin A work for trombone quartet and brass band uncovering the many textural possibilities of the combined ensembles, the lyricism of the trombone and technical dexterity of the soloists. The style finds its origin in Latin rhythms and jazz with the main body of the piece being a bossa nova. It was written for Bones Apart at the request of the Enfield Band of The Salvation Army and was premiered in October 2009 at SUohn's Smith Square, London. 4. Unseen Things - Song Cycle The three songs that comprise this song cycle are poems written by the British poet Fay Inchfawn. I Child-Soul II The Flight of the Fairies III The Home Lights The music is scored for mezzo-soprano, piano and string orchestra. Highly descriptive, it explores the sonorities and textures available within the ensemble; and the relationship of the music to the text. 5. Soul Reflections This is a major work for wind band in three movements finding its origin in the poetry of Jalal al-Din Rumi, a 13 th century Persian mystic. The music follows the themes of the poems very closely and delves into the combined sound palette of wood winds and brass. I The Creek & the Stars II The Silent Articulation of a Face III Cup & Ocean 6. The Salvation Army Lass This extended work for brass band and piano, is a film score, written to accompany the American silent movie, The Salvation Army Lass (1909). The score seeks to reflect the action on the screen. It represents a journey through style, orchestration and theme development within the constraints of film.

The thesis investigates how certain types of contemporary popular music have played a prominent role in digital media, aided by ICTs (Internet, digital music distribution, consumption), music technology (sampling, remix, MP3) and creative artistic technology (music video, performance, virtual groups). As these technologies lie behind many innovations in popular music over the last decade, the focus, here, is on specific artists and producers who have successfully employed such technologies to compose music, and whose reception has been mixed in terms of the reaction from the industry and consumers. The dissertation, therefore, contains case studies of Danger Mouse, Gnarls Barkley and Gorillaz. The following all gained recognition from new media rather than the traditional radio plug: The Grey Album, the experimental and illegal mash-up of the Beatles and Jay-Z by Danger Mouse; 'Crazy' by Gnarls Barkley, which gained interest following a television advertisement; and Gorillaz, a virtual group, created by Damon Albarn of Blur. These projects were composed of a fusion of musical styles and visuals, and were made possible by digital technology. To understand the logic behind these projects, it is important to explore the contributions that assisted the success of the musicians in question. The cultural-social context of the music is analysed and theorized: the music and the performer (involving postmodern features such as authorship and genre-blending); its impact on the music industry (copyright, digital consumption); and the reception of the audience (digital music consumption, distribution technologies, activism). This thesis argues that the internal and external aspects of the compositions and arrangements by Danger Mouse, Gnarls Barkley and Gorillaz constitute innovative examples of contemporary popular music facilitated by digital media, and that this helped to reconstruct the music industry in the twenty-first century.

My portfolio consists of a number of works written for wind and brass ensembles,exploring traditional and alternative forms of textures, sounds and compositional methods. • The Hunter's Blade - A brass band work comprising three different styles. The first is wild, using folk music to create a rural scene with dramatic dynamics, attack of notes, and time changes. The second and third styles employ Jazz and popular harmonies to create an urban scene. • Fiero - A work for Brass Band with cornet soloist. This piece explores technical and lyrical aspects of playing for both soloist and band. It's based around the character of the soloist for whom it was written. The piece has mood swings ranging from wild and argumentative to smooth and sensitive, but is always performed with 'Fiero' - the Italian word for 'proud'. • Leviathan - A piece for Tuba and Piano. This work explores a range of techniques available to the modern tuba player, from the standard bass accompaniment to virtuosic soloist, displaying advanced technical ability, extended range, and multiphonics, through a range of styles from funk to classical. • Heroes of Erin - A four movement work for brass band based on Irish folk music. This features solos from the flugel, tenor horn and cornet, as well as challenging material for the band. The first movement uses a traditional tune with new harmonies and structure; the second combines Irish with a Middle Eastern style; the third is a solemn tune with a meandering harmonic progression; and the fourth is a combination of a jig and a hornpipe. • Mosaic Project - A piece exploring sounds and textures. Composed using verbal instructions to an ensemble, rather than written parts, this allowed for much freedom of expression and interpretation from the performers, within some parameters. • / Sit On Acid - A piece which features a clash of styles where the brass band takes on acid house music. A series of compromises were made in order to create a fusion. • Silhouette - A further step in the bringing together of styles. This time a combination of Latin, Jazz, Norwegian Folk and Popular Music are thrown into the mix. • Dawn of a New Age - 'Fanfare and Theme'. A rousing musical statement heralding the beginning of a new era. The piece is short, opening with a fanfare which is present throughout, and includes a theme representing pride and achievement. • The Fire and the Flood - A large work for Brass Band. This piece is based around the natural cataclysmic phenomena that occur on our planet. The music suggests volcanic eruptions, pyroclastic flows, meteorites and tsunamis - the natural disasters that effect our planet. There are a lot of influences in this work from composers such as Stravinsky and MacMillan.

This research programme was a practice-led investigation into the interrelationship between composition, digital technology and intermedia performance. Within the first year of this investigation Superfield [Mumbai] (2009) expanded on the intellectual ideas surrounding the notion of a Theatre of Sound and developed Sound Theatre: an experimental intermedia performance concept combining field recordings and live computer music; the mental 'seeing' evoked from sound and a theatre performance environment. One specific element developed through this piece was the collaboration between computer-performer and human-performer, augmenting the composition-performance relationship and leading to the theoretical concepts of wholeness, dimensionality and embeddedness. These ideas were interrogated through The Cape Jeremy Affair (2010), which investigated the meaning of the laptop as an autonomous performer alongside human musicians, and incorporated a 'phenomenology' of listening as it relates to music and performance embodiment. Over a period of many months these concepts were developed and became the core philosophical and theoretical argument of this programme. Each new insight was embedded into the compositional process with questions of phenomenology, performance environment, and audience engagement becoming of primary importance. Towards the end of this investigation it became apparent that this programme might be heading into areas that would traditionally be described as "opera", but without containing any of the elements one might associate with the traditional 'recipe'. The final project X\ Sentimental Journey (2011) addressed this issue, expanded on all the previous concepts, enlarged the ensemble, engaged with networking computer systems and focussed on a Total compositional/ experiential paradigm.

This PhD thesis consists of a portfolio of musical compositions for solo instruments with accompaniment. The portfolio, which contains absolute and programme music, includes two largescale works: Piano Concerto with Symphony Orchestra Fok Siu Yok and Saxophone Concerto with Symphonic Band - Pimenta. There is also music for Clarinet, Violin and Guzheng (A Chinese "Zither like" instrument). The principal of the thesis is specifically researching about Chinese tradition music, including its folk tunes, religious music and opera music. The portfolio shows the endeavors of putting these kinds of musical materials into classical musical composition: containing tonal, modal and serial works. Nevertheless, other elements like jazz and Fado (a type of Portuguese singing) are also attempted in some pieces of this portfolio. Dukkha, Havoc in the Heavenly Kingdom and Pimenta were premiered in Macau (Small Auditorium, Macao cultural centre) on 3rd October 2010.

This submission takes the form of six original musical compositions along with critical analyses. (NB in accordance with convention all references to notes and examples within the text are given in concert pitch.) The first composition, 'Lonely Isle' is written for brass band and is one movement with two contrasting sections. The music is broadly tonal throughout and the key signatures of B b major and then C minor are employed for the two sections. 'Fantasy No. 1 for Trombone' is written for solo trombone with piano accompaniment. This was written with for Brett Baker as a potential repertoire piece. The piece has one movement with three contrasting sections. The first, Allegro Scherzando, uses Lydian mode, then Andante in Dm and finally Vivace in C minor. 'At The Gates To Oblivion'was inspired by a series of role-playing video games for PC and X Box called 'The Elder Scrolls', most specifically by the game 'The Elder Scrolls IV: Oblivion' (Bethesda Softworks, 2006). It was originally written for brass band and was later transcribed for wind band. It is in an open key and has three movements. 'Falling Red Leaves of Autumn' is a three-movement piece for euphonium, vibraphone and piano. The titles of the three movements together form a haiku and the piece is composed using pentatonic scales, the first two movements major, and the third minor.'The Sun God, Ra\ is composed for brass band and is also in one freeform movement. It is a piece of programme music inspired by ancient Egyptian mythology. Village Green Dances' is written with the idea of a brass band playing at a traditional fete or country setting and takes as it's starting point the kind of music typically performed at such events. It is written for brass band and is a suite of three pieces, an opening fanfare, a lyrical waltz and a slightly confused march. The sound files for each of these pieces can be found at the following locations: Lonely Isle http://dl.dropbox.eom/u/25045136/LI.mp3 Fantasy No.1 for Trombone http://dl.dropbox.eom/u/25045136/TROMB.mp3 At the Gates to Oblivion http://dl.dropbox.eom/u/25045136/OBLIV.mp3 Falling Red Leaves of Autumn http://dl.dropbox.eom/u/25045136/FRL.mp3 The Sun God, Ra http://dl.dropbox.eom/u/25045136/Ra.mp3 Village Green Dances No.1 http://dl.dropbox.eom/u/25045136A/G1.mp3 No.2 http://dl.dropbox.eom/u/25045136A/G2.mp3 No.3 http://dl.dropbox.eom/u/25045136A/G3.mp3

My portfolio will consist of five contrasting large scale works for wind and brass bands which explore the textural and colouristic potential of these ensembles: Apophenia - a three movement concerto for trumpet (doubling flugel and piccolo trumpet) and brass band. Apophenia opens with a fast and frantic movement exploiting the clarion brilliance of the Bb Trumpet. The second movement is sombre in nature and exploits the darker tonal characteristics of the flugel horn. The finale, an ostinato driven dance movement, features the high tessitura of the piccolo trumpet. • Macbeth - a large scale test piece for brass band. Character portraits (Of the three witches as well as Macbeth himself), abstractions (The lament), and scenes (The final battle between Macbeth and Macduff) make up the 9 interconnecting sections of the piece. • Manchester Sketches - a three movement work for a brass quartet consisting of four instruments that are at the heart of a brass band: two cornets, tenor horn and euphonium. The Karman Line - a concert work for wind band that explores textures in the wind band. • Fields of Destruction - a song cycle for euphonium and wind ensemble. The euphonium is an ideal vehicle for writing "songs without words" and this commission gave me chance to explore the lyrical, melancholy, nature of the instrument.

To date, very little research has been conducted with respect to representations of madness in popular music, and yet comparative studies of classical opera, film, television, and literature have already demonstrated how constructions of madness may be referenced in order to stigmatise but also liberate protagonists in ways that reinforce or challenge contemporaneous notions of normality. In an effort to redress this balance, this study identifies links between the anti-psychiatry movement and representations of madness in popular music of the 1960s and 1970s, analysing the various ways in which ideas critical of institutional psychiatry are embodied both verbally and musically in specific songs by David Bowie, Lou Reed, Pink Floyd, Alice Cooper, the Beatles, and Elton John. It concentrates on meanings that may be made at the point of reception as a consequence of ideas about madness that were circulating at the time. These ideas are then linked to contemporary conventions of musical expression in order to illustrate certain interpretative possibilities. Supporting evidence comes from popular musicological analysis - incorporating discourse analysis and social semiotics - and investigation of socio-historical context. The uniqueness of the period in question is demonstrated by means of a more generalised overview of songs drawn from a variety of styles and eras that engage with the topic of madness in diverse and often conflicting ways. The conclusions drawn reveal the extent to which anti-psychiatric ideas filtered through into popular culture, offering insights into popular music's ability to question general suppositions about madness alongside its potential to bring issues of men's madness into the public arena as an often neglected topic for discussion.