published_or_final_version / Music / Master / Master of Philosophy

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This thesis contains two volumes. The first is a written text that describes my compositional techniques in the context of an analysis of my Concerto for Piano and Orchestra. The second volume is the score of this work. / Volume one is divided into two parts. Part I describes my compositional techniques and the original contributions of the thesis. These include the incorporation of psychoacoustic models of hearing into the creative process, as implemented by a computer program written by the author. I give detailed descriptions of models for dissonance and pitch commonality, and discuss my use of contour theory. Part II of the first volume illustrates these techniques through an analysis of the Concerto for Piano and Orchestra. The main topics of this analysis are the creation of background harmonic regions based on high pitch commonality to a referential sonority, and the integration of a basic shape or contour into all parameters and structural levels of the music. / Volume two is the full score of the Concerto for Piano and Orchestra. This work has a duration of 23 minutes. It is scored for solo piano and a small orchestra consisting of flute (doubling on piccolo), oboe, B-flat clarinet, bassoon, horn in F, trumpet in C, trombone, two percussion and strings (44332). The Concerto is divided into four movements, played without pause, and two brief opening and closing sections.

The purpose of this study is to create an original composition for piano and orchestra, Piano Concerto Number One, Heatmadah. While numerous compositions of piano concerti already exist, the goal of the dissertation, through the process of composing an original score, is to express new ideas based on traditional forms. This quest evokes the questioning of traditions, yet presses tightly upon the value of the individual. The first section presents a brief history of the piano concerto and introduces my piano concerto, Heatmadah. The second section discusses the significance of the study. A review of literature is investigated in the third section. The fourth section contains the methodology of my dissertation and includes discussion of preparation, orchestration, the interaction between piano and orchestra, the role of the flute and piccolo, virtuosity, and structure. The structure discussion includes a thorough analysis of how the work is put together, and is illuminated by several musical excerpts. A description of important musical traits and influences follows, including cyclical transformation, augmentation and diminution of materials, harmonic language, influence of jazz and the iconic jazz artist, influence of Ravel, and challenges and goals. I hope that my concerto will connect and resonate with both performers and audiences alike. / School of Music