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Contours is scored for full wind ensemble and percussion, and is approximately nine minutes in length. The title refers to the way melodic shape or contour is used to create unity and variety in the piece. Contours is a single-movement work containing three sections that are unified by thematic and harmonic materials. The melodic material is generated by three twelve-tone rows, which are then used in combination with freely composed material. The first and last sections are highly contrapuntal and rhythmically disjunct. Both sections share common rhythmic and melodic patterns. These sections are contrasted with a slower and more lyric middle section. This section is made of a series of episodes that create an overall A-B-A structure.

Persistence is a composition scored for piccolo, 2 flutes, 2 oboes, English horn, 2 bassoons, E-flat clarinet, 3 1st B-flat clarinets, 3 2nd B-flat clarinets, 3 3rd B-flat clarinets, bass clarinet, 2 E-flat alto saxophones, B-flat tenor saxophone, E-flat baritone saxophone, 3 B-flat trumpets, 4 French horns in F, 2 trombones, bass trombone, baritone, tuba, timpani, and 4 auxiliary percussionists. The music consists of three movements, fast-slow-fast, lasting approximately eleven and one-half minutes. The three movements last three minutes and twenty seconds, five minutes and thirty seconds, and three minutes and ten seconds respectively.

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The Ghost in the Machine is a piece of music far large wind ensemble. This piece is concerned with the interrelationship between the perception of time passing in music and the level of perceived density of musical activity. Specifically, the piece is designed according to the notion that the higher the level of musical activity within smaller intervals of time, the higher the perceived level of density. The piece consists of a large-scale density envelope that spans the length of the entire piece, wherein the level of density increases gradually towards and decreases away from the climax point. The shape of this density envelope is reflected on smaller scales that operate at various levels of the music, all of which are discussed in detail in the analysis part of the thesis. These density envelopes are used as a means of structuring the listening process over the course of the piece.