Dereglement passager de corps heterogenes is a work for flute (doubling piccolo and alto flute), clarinet (doubling bass clarinet), horn, piano, violin, cello and contrabass which explores the concept of "virus" within a musical form similar to the theme and variations. During its elaboration, I imagined what could metaphorically be the effects of different virus on what I define as "musical organisms". This idea suggested a number of variations that could serve as laboratories to experiment different levels of interaction between the virus and the musical organisms. This thesis consists of the musical score and a detailed analysis.

Research on the musical language as well as the technical realisation of the tape part to a kindred spirit, for ensemble and tape, was realised at the Electronic Music Studio of McGill University from September, 1984 to September, 1986. / The following excerpt from the programme note in the score summarizes the 'spirit' of the composition. / "The computer generated sounds on tape form a large body in which instrumental sounds float and from which they appear, like weeds oscillating on a sometimes calm and often turbulent sea of sound. / 'You're afraid, in the mirror, of the sea, in front of, you're afraid ... ' and 'searching, for a common pulse, to sustain, to carry on, searching ... ' are circular phrases in the text which reflect elements of both doubt and courage. Mourning that which can never return. Celebrating that which will always be with us."

Seven Poems was written for a text in combination with live and recorded sounds. The sound sources used for the recorded portion of the composition came from Bb clarinet and male voice. The taped sound was processed with filters, amplifiers, modulators, reverberators, and various other signal modifiers to expand the timbral possibilities.The text that was used for this piece is a poem by Mark Strand written in 1970. This poem is divided into seven sections. Each of the sections has its own character, although all are related to the same idea - the separation of man from himself. / School of Music

Thesis (M.A.)--University of California, San Diego, 2008. / Accompanying disc is DVD-ROM, and contains sounds files for recordings of the works. Title from first page of PDF file (viewed June 25, 2008). Available via ProQuest Digital Dissertations. Performance instructions precede each score.

Thesis (D.M.A.)--Conservatory of Music and Dance. University of Missouri--Kansas City, 2008. / First piece for amplified clarinet and fixed electronic media, the second piece for electric guitar and fixed electronic media, and the third piece for amplified high voice (soprano or tenor) and fixed electronic media. "A dissertation in music composition." Advisor: Paul Rudy. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Apr. 14, 2009 Online version of the print edition.

Thesis (M.A.)--University of California, San Diego, 2009. / The 1st work for violin, clarinet, violoncello; the 2nd for piano with chamber orchestra; the 3rd for 2 flutes (1 doubling on piccolo), 2 clarinets, 2 violoncellos. Title from first page of PDF file (viewed July 7, 2009). Available via ProQuest Digital Dissertations. Accompanying disc contains PDF file of thesis and recordings of performances.

Thesis (Ph. D.)--Princeton University, 1981. / Typescript. "This essay and the Chamber concerto together constitute the dissertation but are otherwise inrelated." Includes the author's Chamber concerto, for flute, clarinet, violin, violoncello, and piano (1 ms. score (73 p.)). Includes bibliographical references (leaf 114).

Thesis (Ph. D.)--Ohio State University, 2004. / Title from first page of PDF file. Document formatted into pages; contains xii, 151 p.; also includes graphics. Includes bibliographical references (p. 147-151). Available online via OhioLINK's ETD Center

abstract: Finger motion and hand posture of six professional clarinetists (defined by entrance into or completion of a doctorate of musical arts degree in clarinet performance) were recorded using a pair of CyberGloves® in Arizona State University's Center for Cognitive Ubiquitous Computing Laboratory. Performance tasks included performing a slurred three-octave chromatic scale in sixteenth notes, at sixty quarter-note beats per minute, three times, with a metronome and a short pause between repetitions, and forming three pedagogical hand postures. Following the CyberGloves® tasks, each subject completed a questionnaire about equipment, playing history, practice routines, health practices, and hand usage during computer and sports activities. CyberGlove® data were analyzed to find average hand/finger postures and differences for each pitch across subjects, subject variance in the performance task and differences in ascending and descending postures of the chromatic scale. The data were also analyzed to describe generalized finger posture characteristics based on hand size, whether right hand thumb position affects finger flexion, and whether professional clarinetists use similar finger/hand postures when performing on clarinet, holding a tennis ball, allowing hands to hang freely by the sides, or form a "C" shape. The findings of this study suggest an individual approach based on hand size is necessary for teaching clarinet hand posture. / Dissertation/Thesis / D.M.A. Music 2011

abstract: Pre-collegiate clarinet instructors are often challenged to teach students both fundamental skills and repertoire with limited instructional time. Insufficient time may cause fundamental skills to be addressed at the expense of repertoire or repertoire study may limit time spent on fundamental development. This document provides a suggested repertoire list that categorizes pre-collegiate clarinet literature based on the fundamental skill addressed in each included piece. Teachers can select repertoire that allows students to concurrently refine a fundamental skill while preparing a piece for performance. Addressed fundamental topics include embouchure, expanding the range into the clarion and altissimo registers, articulation, breathing, intonation, finger technique, and musicality. Clarinet method books and treatises were studied to determine which fundamental concepts to include and to find established teaching techniques recommended by pedagogues. Pre-collegiate clarinet instructors were surveyed to determine which pieces of clarinet repertoire were frequently studied in their private lesson curriculum and why, and if they used specific pieces in order to isolate a fundamental skill. Literature found in repertoire lists, repertoire books, on-line catalogs, and from the survey results was examined. Repertoire was selected for inclusion if it contained passages that were analogous to the established teaching strategies. / Dissertation/Thesis / Doctoral Dissertation Music 2014