Thesis (D.M.A.)--University of Texas at Austin, 2000. / Vita. Includes bibliographical references (leaf 230). Discography: p. 231. Available also in a digital version from Dissertation Abstracts.

Musical Moments abstract The inspiration for this piece came largely from my encounters with Miles Davis’s composition “Flamenco Sketches” from his album “Kind of Blue”. Initially, I wanted to write a piece that would have a highly dramatic emotional content with some influences drawn from flamenco music. The only thing that I drew from flamenco is a progression of chords that loosely hint at Phrygian mode (often used in flamenco). Other elements of the music and the development of musical material are not related to flamenco or to Davis’s “Flamenco Sketches”. “Musical Moments” presents four different moods: calm but anxious, joyous and assertive, indecisive and contemplative, restless and explosive. Each of these moods creates a separate section of the piece which when combined shape a single movement work.

Thesis (D.M.A.)--University of Texas at Austin, 2000. / Vita. Includes bibliographical references (leaf 230). Discography: p. 231. Available also in a digital version from Dissertation Abstracts.

Thesis (M.M.)--University of North Texas, 2001. / For piano and chamber orchestra (flute, oboe, clarinet, bassoon, trumpet, timpani and strings). Duration: ca. 9:00. Includes bibliographical references (p. xxxviii).

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v.1. Musical composition -- v.2. Analysis. / In this paper the compositional issues and techniques employed in my M. Mus. Thesis Composition Nocturnales (for chamber orchestra comprised of fifteen players) is discussed. The piece, constituted of three connected parts, exhibits an eclecticism of musical styles and compositional approaches that comes in part, from the use of different temporal structures. To build such structures, two independent techniques have been developed that organize pitch and rhythm according to some serial procedures, yet are flexible enough to permit local level decisions based on intuitive considerations. The basis of the pitch system is a 1-2-1 tetrachordal set, to which are applied both principles of permutation and a modal treatment. In the rhythm domain, besides the conventional metric divisions of 2 and 3, predetermined numerical rows derived from the Fibonacci series to provide the durational values between event attacks are employed.

The Days of Victory is a piece of music for a chamber orchestra of sixteen players, approximately thirteen minutes in duration. The accompanying analytical essay provides an extensive general description of its systems of pitch organization, and a more specific account of their operation in this piece. These systems function by linking dyads together to create a harmonic language that favours asymmetrical chord formations. Also included is an outline of its form, which uses four contrasting types of sections in recurrence. The essay comments on the stylistic tendencies of the piece in terms of rhythm, texture, and orchestration. This is followed by a brief exploration of the aesthetic implications of the music in relation to its title, which is drawn from a short excerpt of the Koran.

X is a composition for a chamber orchestra with a duration of approximately 13'30″. The title X (read as "cross") refers to a cross-weave pattern created by superimposing the trills and written-out tremolos in the piece. While the trills and tremolos are used throughout the piece to create a sense of textural variety, they have an important function in controlling the formal structure of the piece. The texture, which is one of the important features of the composition, makes the overall form apparent.