Thesis (Ph.D.) --University of Adelaide, Elder Conservatorium of Music, 2008. / "October 2007" Bibliography: leaves 168-170. Also available in print form.

Compositions include Sightings : for clarinet and marimba (ca. 14:00), Proboscis maximus : bass trombone solo (ca. 11:00), Pathways : for violin, ’cello and piano, Impulses : for marimba duet, and Gleaned from the wind : for chamber orchestra (ca. 13:00). / Arts, Faculty of / Music, School of / First, 2nd, 3rd, and 5th works reproduced from manuscripts. Includes performance notes for 1st and 2nd works. Includes composer’s graduation recital program. Vita. Accompanied by sound cassette of recital. / Graduate

This submission consists of three parts, found in two volumes. Volume 1 consists of a folio of eight original compositions, composed during the tenure of my PhD candidature at the University of Adelaide. These works cover a range of media, including symphony orchestra with soloist, large chamber ensemble, string quartet with soprano solo, guitar quintet, mixed choir and vocal trio. Volume 2 presents an exegesis that contains commentary on the genesis and analysis of the submitted works, together with an explanation of certain modal processes that have been explored and applied. Volume 2 also contains three minor compositions that were composed during my candidature, presented as an Appendix. These are analysed and referenced within the exegesis discussion. Two CDs of live recordings of some of the submitted works are included as part of Volume 2. The Exegesis, Appendix and Sound Recordings found in Volume 2 act as secondary material to support the primary material presented in Volume 1. Of the eight compositions presented in Volume 1, Skin, Metal, Wood – Concerto for Percussion and Orchestra is the major orchestral work of over 30 minutes, in fulfilment of submission requirements. The musical works contained within this submission offer a personal exploration of certain modal processes. In particular, the tonal principles of modulation and key relationships have been transferred into a modal system that features church, folk and synthetic modes. The exploration of modal processes has been carried out through the works themselves, and the accompanying exegesis acts as a commentary on the genesis of the works. / Thesis (Ph.D.) - University of Adelaide, Elder Conservatorium of Music, 2008

Thesis (Ph. D.)--University of Wisconsin--Madison, 1974. / Typescript and manuscript. Vita. For 2 choruses (SATB), 2 speakers, and instrumental ensemble (piano, harp, percussion, flute, oboe, bass clarinet, trumpet, horn, bass trombone, 2 violins, 2 violoncellos, and 2 double basses); performance also requires people to control slide projections and lighting changes. English words. Text for score is from Credo one and Credo two, by Gavin Arthur; text read by speakers before the beginning of the piece is by Jalal ud-din Rumi, a 13th-cent. mystical Persian poet. Includes performance instructions. Includes the compositions "Winter's not forever (on three poems by e. e. cummings) for soprano, female speaker, and six players" (leaves 124-148) and "--And it always will be (for percussion soloist with orchestra)" (leaves 149-186) by the author. "Winter's not forever": for soprano, speaker, flute, horn, bass clarinet, double bass, percussion, and piano/celeste. Description based on print version record.