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"EDIFICE" Opus 4. No. 2, is a composition scored for double, mixed chorus, soprano and baritone soli, 2 oboes, 2 clarinets in Bb, 2 bassoons, 4 horns in F, 2 trumpets in C, 2 trombones, and bass trombone. The piece is based on the poem EDIFICE, by Tean E. Schultz, which was written at the request of the composer. / The philosophical impetus of this work stems from the process of perspectival redefinition, the resultant alteration in perceptual space being of primary importance. This could be viewed as the meta-text of the poem and forms the basis for an iconic realization of this concept in "EDIFICE". / The work is characterized by the unusual spatial disposition of its constituent ensembles. Specifically, the two mixed choirs are antiphonally situated, one on either side of the audience, with the wood winds and brass set in two concentric circles between the two choirs. The wood winds and bass trombone are enclosed by the remaining brass. This arrangement of the instruments relates directly to the imagery implicit in the third segment of the poem; " ... I will not listen, My self is pouring Outside me; Like a cast of metal Covers me ... ". / In terms of compositional designs the work explores such techniques as cyclical permutation of phonemic units derived through the phonetic fragmentation of text segments; phonemic manipulation in a multi-layered texture for the purpose of timbral variation; inexact rhythmic imitation, termed "quasi cannon"; serialized and "eroded" breathing rhythms; continuous redisposition of semi-chromatic pitch cells as foundational harmonic structures; and textural "cross-fading" within the antiphonal distribution of forces.

Abstract Not Available.

Of A Covered Harvest is a twenty minute music composition for alto solo, mixed double choir (SSAATTBB) and percussion. It uses the following texts: Sacrifice by Alicia Munoz; Non Linear by Phyllis Webb and ancient Mayan words. The piece explores the themes of power, choice and the crowd versus the individual using the musical depiction of a ritual human sacrifice as a forum for commentary. The three part structure of the piece is delineated by the narration of the ritual by the choir: preparation, sacrifice and resolution, and by the emotional reaction to the sacrifice by the alto solo (victim): denial, isolation and anger; depression and bargaining; and acceptance. Of A Covered Harvest uses contemporary vocal techniques such as vocalizations, paralanguage and the phonetic manipulation of text. The piece follows in the tradition of twentieth century performance practice in its use of graphic notation and aleatoric passages.

Thesis (M.M.)--Ball State University, 2009. / Title from PDF t.p. (viewed on July 01, 2010). Creative project (M.M.), 3 hrs.

Dissertation (D.M.A.) Florida State University, 2004. / Advisor: Ladislav Kubik, Florida State University, College of Music. Title and description from dissertation home page (viewed 8-20-2007). English words by Wilfred Owen printed as text preceding score. Document formatted into pages; contains 90 pages. Includes biographical sketch.

Haiku Seasons is a choral work that uses several haiku to portray moments in nature. Spread throughout the performance space, four choirs (SATB, 3/part) depict larger parts of the pastoral scene (i.e., mountains, the moon, etc.). Soloists depart from the choirs in order to perform solo, duo, trio, and quartet passages, which take place throughout the work. If enough singers are available, individual soloists may be used. The soloist groups display the more intimate moments of the scenes (i.e., sparrows, a blade of grass, etc.). The intent of Haiku Seasons is to create an image of nature isolated from human interaction. Thus, the image is a pastoral setting with many independent parts all coexisting in a relatively silent world. I combine aspects of tonality, time, space, and silence to create this image.

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