The purpose of this critical essay is two-fold. First, the essay presents a detailed critical analysis of my original composition, Blueline Concerto for bass trombone and wind ensemble. Second, using Blueline Concerto, the essay presents preliminary findings of my study to develop an approach to composing that takes into account the musicians' health, specifically regarding noise induced hearing loss (NIHL). Through various hypothesized composition- and orchestral-based approaches, I test effectiveness on changes in NIHL risk while also noting that artistic merit and compositional integrity is preserved.

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This monograph explores the integration of improvisation and orchestral music. It consists of two closely related large-scale compositions, Amphion and Zethos, and an accompanying essay. Amphion, for orchestra, is in three movements and includes frequent references to styles and genres of the Baroque era, specifically the French dance suite. Zethos, for five improvisers and chamber orchestra, includes the three movements of Amphion, in toto, plus five additional concertato sections with improvisation. These sections have multiple player configurations and were composed for specific players with distinct improvisational skills. These sections also fulfill specific functions in relation to the three fully notated movements of Amphion: as introductions, codas, transitions, and development. The accompanying essay considers issues relevant to Amphion's and Zethos's rehearsal and performance, and examines their form and melodic/harmonic language. It also discusses the historical precedent and aesthetic rationale for improvisation in orchestral music, and the notation of improvisation in Zethos. / Music Composition / Accompanied by two .pdf scores: 1) Amphion.pdf. 2) Zethos.pdf.

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Entre 1750 et 1810, l’entrée du soliste dans les premiers mouvements de concerto est un événement théâtral et musical. Examinant le corpus de Johann Christian Bach, Haydn, Mozart, Viotti et Beethoven, cette thèse distingue les stratégies compositionnelles récurrentes, constituant la norme de l’époque étudiée. Elle analyse les procédés rhétoriques à l’œuvre en évaluant l’effet produit par chacun par rapport à la norme attendue.La première partie concerne la construction de l’attente du soliste. Elle évalue la fonction introductive du premier tutti, distinguant les « tuttis-cadre » des « tuttis-narratifs » et examinant l’impact de la présence d’une modulation. La deuxième partie étudie les stratégies de clôture de l’exposition orchestrale et l’existence d’une rupture lors de l’entrée du soliste. La troisième partie montre la manière de donner la parole au soliste par le choix de son thème d’entrée, d’une ornementation éventuelle ou l’ajout d’une section introductive virtuose autonome. / Between 1750 and 1810, the entry of the soloist in the first movement of a concerto is a musical and theatrical event. Going through the corpus of Johann Christian Bach, Haydn, Mozart, Beethoven, and Viotti, this thesis distinguishes personal strategies from recurring compositional techniques that are standard in the period under review. It analyzes the rhetorical techniques used through assessing the effect of each technique compared to that of the expected standard.The first part concerns the construction of the expectation of the soloist. It evaluates the introductive function of the first tutti, creating a disctinction between “frame-tuttis” and “narrative tuttis”, and examinating the impact of the presence of a modulation. The second part focusses on the closing strategies of the orchestral exposition and the existence of a break for the soloist’s entry. The third part shows the hand over to the soloist through the choice of the entry theme, the eventual ornementation, and the adding of an autonomous virtuoso introductive section.