The rationale for this portfolio of original compositions was to investigate particular ideas in relation to the use of dissonance, and in particular harmony, to represent the concept of darkness in an emotional and visual sense. The notion that harmony and dissonance can evoke emotions was developed through research into literature of music and the mind. Theories of harmonic dissonance, acoustic, physiological and psychological were studied including those of Helmholtz, Greenwood, Plomp and Levelt, Stumpf and Cooke. The compositions are divided into two parts, two orchestral works that are an evocation of underground locations, and the second part which is devoted to three small chamber works that investigate the darker emotions of child psychology, looking at phobias, dreams and psychological perceptions: 1. Mary King’s Close - flute, clarinet, bassoon, horn, trumpet, trombone, piano, 2 percussion, 2 violins, viola, cello, double bass. 2. Limbus Infantium - flute, soprano voice, piano, harp. 3. Nocturne - 2 trumpets, horn, trombone, euphonium, tuba, 2 percussion, recorded text. 4. Symphony 2 ‘The Caves’ - symphony orchestra 5. Voices - 2 violins, viola, cello The portfolio of compositions begins with the use of dyadic harmonic intervals derived from modal themes, and the subsequent compositions expand and develop these ideas culminating in a complex use of small harmonic cells which relate to subtle light illuminations in the underground caves, and the psychological depth of perception of children in the final works. / Thesis(PhD)-- Elder Conservatorium of Music, 2007

Acoustic fragment I -- Acoustic fragment II -- Das Parfume -- Eldamar. / Wu, Guanqing. / Thesis (M.Mus.)--Chinese University of Hong Kong, 2008. / Abstracts in English and Chinese. / Abstract --- p.i / Acknowledgements --- p.ii / Table of Contents --- p.iii / Acoustic Fragment I --- p.1 / Acoustic Fragment II --- p.15 / Das Parfume --- p.25 / Eldamar --- p.70

Time Fields: Chamber Concerto #3 for fifteen players (2004) is a composition for five woodwinds, three brass, one percussionist, piano, string quartet and double bass with an approximate duration of 14 minutes. This work addresses the nature of musical time and its role in the organisation of the large-scale structure of the piece. Four differing states of musical time, which I refer to as Temporal Textures (Static, Obscure, Temporal Counterpoint and Clear), are employed in particular alternations to form a single movement work in four distinct sections.

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此作品集提供有一篇文章介紹72-TET記譜法及七首音樂作品。音樂作品採用不同編寫，包括樂團三首，室內樂作品三首，藝術歌曲一首。 / Seven works (three orchestral, three chamber, and one vocal) written and performed in the last three years constitute this portfolio, along with an introductory essay discussing a common feature in many, a form of 72-TET notation. For all of these pieces, microtones are employed; for some, this is fundamental to the technical construction of the piece, while, for others, microtones function as ornamental devices. / The variety of compositional goals enabled through microtonal notation is reflected in the differing technical approaches to the works: East Cathedral for full orchestra requires a representation of 19 just intonation overtone pitches (as high as the 125th harmonic) which enable a shifting timbral palette, sometimes orchestrating closely defined intervals otherwise impossible to approximate using conventional notation. A similar approach is found in ON/OFF which retunes five electric guitars to certain overtones between the eighth and 39th harmonics but which accomplishes much higher partials by employing a violin bow. Suite for string orchestra with sheng employs traditional diatonic harmonies employing simple just thirds juxtaposed with natural harmonic clusters in the low strings and at other times leading to untraditional diatonic clusters or extended collisions of microtonal comma values. Study and Variation on an Extended Pythagorean Tuning for violin, cello, and guzheng employs a collection of pitches selected from a spiral of perfect fifths, while Hymn to Morning, on the classic hymn text of Thomas Ken, uses quarter tones in the vocal part only, constructing modes outside of the established diatonic system. Duo: in cerca for violin and viola uses quartertones and glissandos to contribute to its wide range of techniques approximating dramatic dialogue between the instrumentalists, employing pitch “bending and characteristics of vocal portamento, while, similarly, Déjà vu for solo violin, harp, piano, and string orchestra also includes quartertone notation and glissandos to help lead the listener into a series of interludes at odds with the melodic statements of the soloist. / East Cathedral : for full orchestra -- Déjà vu : for solo violin, harp, piano, and string orchestra -- Suite : for string orchestra with sheng -- Study and variation on an extended Pythagorean tuning : for violin, cello, and guzheng -- Duo : in cerca : for violin and viola -- Hymn for morning : for voice and piano -- ON\OFF : for five electric guitars. / Detailed summary in vernacular field only. / Marshall, Eli Matthew Bakaley. / Thesis (D.Mus.) Chinese University of Hong Kong, 2014. / Includes bibliographical references (leaves xxxiii-xxxvi). / Abstract also in Chinese.