The following thesis documents the collaboration process behind Idle Flux, a collaboration between Samuel A. Montgomery, a graduate composer at University of North Texas, and Emily Jensen, a graduate choreographer at Texas Woman's University. Comprising an 18-minute stereo fixed media composition and choreography for seven dancers, Idle Flux seeks to challenge the traditional spatial relationship between audience members and performers through restructuring seating and stage arrangements while featuring immersive sound design in multiple venues. This thesis considers multiple sources of inspiration, including Immersive Van Gogh® Exhibit Dallas, John Jasperse's Canyon, Zoe | Juniper's BeginAgain, Francisco López's installations, Alexander Ekman's A Swan Lake, Imagine Dragons' "Enemy," Son Lux's "Dream State (Dark Day)," and Ryan Lott's dance compositions. This thesis also examines the interdependent collaborative relationship between composer and choreographer by considering the issues of autonomy and creative control, examining previous collaborative models proposed or implemented by Van Stiefel, José Limón and Norman Lloyd, John Cage and Merce Cunningham, Doris Humphrey and Norman Lloyd. In addition, this thesis discusses the creative process and foundational concepts behind the fixed media composition, including the use of sound samples, exploration of timbre through synthesizers, development of motives and musical language, and the spatialization of sound in multiple venues. This thesis further considers the advantages and challenges associated with creating an immersive experience at each venue as well as an interdependent collaborative process that facilitates the autonomy and creative independence for both the composer and choreographer.

This portfolio of eleven scores and an accompanying commentary is an in depth investigation into the use and development of compositional techniques over a wide range of instrumental and vocal combinations.  The scores submitted trace my development as a composer by considering research questions related to structural organisation, harmonic and rhythmic development and how external sources, particularly visual and literary, can be used as a starting point for the compositional process. Included in the portfolio are eleven works, categorised into three sections: instrumental music, solo works, and vocal music. The portfolio researches and examines elements of composition such as harmony, texture and timbral relationships, as well as the use of visual and literary art as a stimulus for composition across all of the instrumental and vocal combinations included.  My interest in the combination of pre-existing compositional methods such as serialism, with particular regards to pitch, and atonality is also examined in many of the scores and documented in the accompanying commentary.

Our modern motion picture composers are limited by the necessity of fitting musical impulses to action. The timing is a matter of split-second synchronization. The writers have no classical form to follow as each script requires highly individualistic treatment, highly restricted time elements, and highly technical instrumentation. Therefore, every composition is a challenge. The challenge includes not only the time element but a demand for a greater amount of originality in musical line and mood setting.

這作品集共有三首作品：“謎語 I, 110806“ 為四個家居電話而作, “ 影。空“ 一首電子音樂作品, “交響詩“ 為管樂團而作 / 我嘗試在作品集當中運用一些以前我並不經常使用的作曲概念、作曲技巧，及配器法和一些樂器組合，以致我可以創作一些突破我以往風格的作品。以上三首作品都屬於不同類型，也有作不同的特質；樂曲順著創作日期先後而排列。我嘗試在 “謎語 I, 110806 和 “影。空 這兩首較早期的作品中實驗一下當時對我而言是創新的樂曲種類和作曲技巧。較近期的作品“交響詩是為管樂團而作。因為我學習圓號多年，所以這是我最熟悉的樂曲類型。 / “謎語 I, 110806“ / 這是一首為四個電話而作的實驗性作品，藉此表達出我們每天都在經歷充滿戲劇性的人生。電話可以產生出脈衝和音頻聲響，無疑是一件樂器。其實很多圍繞著我們的事物都可以用來創作音樂。我為這首樂曲的演出預先預備了一些錄音以在樂曲中特定的時間播出。演奏者可以按他們自己的喜惡以其他錄音代替。 / “影。空“ / 這是一首揉合電子合成器所產生的電子音效和真實錄音的電子音樂作品。創作靈感來自<聖經>的<傳道書>，我特別是被當中認為人生在世一切都如捕風捉影所觸動。我在音樂中使用了風聲作為一固定反復的樂句以貫穿全曲。有此作為一個無間斷的承托部分令到一些不可能在真實樂器演奏中發生的細緻音樂元素可以在這首樂曲中呈現。 / “交響詩“ / 這首樂曲的最大特點是我選擇在這首管樂團作品中運用了豎琴和馬林巴琴的二重奏。樂曲起始是一些精簡又有著強烈對比的樂段，這些樂段在樂曲較後部分融合一起，並發展成一長樂段。我在樂曲中主要著意於創造優美的旋律，當中蘊含著不規則的分句，卻不影響樂曲本身的流暢性。 / This portfolio consists of three pieces: Enigma I, 110806 for four domestic telephones, In Vain Like A Shadow an electronic piece, A Symphonic Poem for concert band / In my portfolio, I have attempted to use the compositional concepts and techniques, as well as orchestration and instrumentation method that were unfamiliar to me before, so as to ensure that I was writing works that would stretch beyond my usual musical tendencies. The three pieces in my portfolio all have distinctive styles and genres; each will be presented chronologically according to its completion date. In my two earlier pieces, Enigma I, 110806 and In Vain As A Shadow I wish to experiment with the genres and techniques that were new to me at the time. The most recent work, A Symphonic Poem, is composed for concert band. It is the genre that I am most comfortable and familiar with, owing to my years of training on the French horn. / Enigma I, 110806 / This is an experimental piece composed for four domestic telephones. This came out of my idea of creating a work that would enable music to express the drama we encounter in our daily lives. The telephone is no doubt a musical instrument--it can generate pulses and pitched tones. In fact, many objects that surround us can be used to create music. For the performance of this work in the past, I have prepared some pre-existing recorded sound tracks that can be played alongside at particular moments in time. However, those who wish to make their own sound tracks to substitute mine for the performance are welcome to do so. / In Vain As A Shadow / This is an electronic piece that combines recorded live sounds with effects that are produced by a synthesizer. While composing this work, I was inspired by the book Ecclesiastes from the Holy Bible; in particular, I was struck by the part about how the life of a man is a vanity. In my music, I have used a drone-like ostinato that permeates throughout the entire work. Using this as the long, seamless foundation of my piece, while delicate gestures are introduced up above, is something that would have been impossible if only acoustic instruments are used. / A Symphonic Poem / What is most unusual in this work is probably my choice to feature a duet for harp and marimba within a wind band. This piece begins with a few short, contrasting sections that are later combined with one another, and eventually grow to become one long stretch. Much of my attention in working through this piece has been focused on creating beautiful melodic lines that have irregular phrasings, yet will not interfere with the continuous musical flow. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Cheng, Ming Hin Henry. / "December 2012." / Thesis (M.Mus.)--Chinese University of Hong Kong, 2013. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts also in Chinese. / Volume I: / Cover Page / Content Page / Acknowledgments --- p.i / Abstract --- p.ii / Enigma I, 110806 --- p.1 / In Vain As A Shadow --- p.8 / Volume II: / Cover Page / A Symphonic Poem --- p.1

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<p> The purpose of this study is to chronicle the experiences of an elementary music educator incorporating composition and improvisation activities into her elementary general music curriculum. I interviewed a primary music specialist with the purpose of discovering her background in teaching music. The questions focused on the teacher&rsquo;s experience with music composition. After this interview, I observed the teacher in a third-grade general music composition lesson. I documented how the teacher approached the lesson and any steps she took to adapt the lesson to the needs of their students and her teaching style. </p><p> After the observation, I interviewed the teacher again to record her reactions to teaching the lesson. After coding the transcripts of the interviews and observation, four themes developed from the data: Personal Initiative, Teacher Reassurance, Student Engagement, and Teacher Improvement. The participant involved in this study received training in improvisation and reported that it had a positive effect on not only how she taught composition and improvisation, but also how comfortable she felt while teaching. As the training this teacher received was not through her teacher training program, her case may be unusual among experienced music teachers. Although this teacher was successful in teaching composition, her positive reactions to professional development indicate a desire for more training among in-service music education specialists. This study supports the idea that there is a need for more pre-service and in-service teacher training in how to teach younger students to compose. </p><p>

This dissertation is in two unrelated parts: the first part is the Dissertation Essay (p. 1-49) and the second part is the Dissertation Composition (p. 50-178). The Dissertation Essay is an analysis of György Ligeti's Étude 1: Désordre (Disorder) (1985) for piano. In the first part of the essay, there is a short introduction to Ligeti's Piano Etudes, quotations by him, and basic information about the Désordre. In the second part the etude's melodic lines are discussed, with help of figures of the phrases of the melodic lines. The main focus of the composition is in rhythm, which is given consideration in the third and most extensive part. The rhythm is approached from a perspective of different rhythmic levels, also with the help of figures. Finally in the fourth, shifting and form are scrutinized. The last part is followed by Conclusions, Bibliography / Works Cited, and Appendix (Analysis sheets of Désordre). In the analysis sheets of Désordre (Appendix) the etude is approached from the points of view of rhythmic levels of two individual lines, phrasings of these melodic lines, shifting of bar lines (between right and left hands) and overall form. Throughout this essay it is recommended that one follows Appendix. Désordre is a refined combination of systematic and non-systematic music. Ligeti bends, changes and breaks the system along the way. The fine balancing between the order and disorder, is a core idea of the composition. The Dissertation Composition is Velinikka, Concerto for Quarter-tone Accordion and Chamber Orchestra (2008). The composition was commissioned by Gaudeamus Music Week and is dedicated to Veli Kujala. Velinikka, 25-minute work, was premiered on September 1st, 2008 by Veli Kujala, quarter-tone accordion, and Insomnio conducted by Ulrich Pöhl at Muziekgebouw aan 't IJ in Amsterdam. The cadenza of the concerto is improvised or/and composed by the soloist. Cooperation between Veli Kujala and the undersigned has led to an elaboration of a new instrument, the quarter-tone accordion. The most significant difference between the quarter-tone accordion and a standard chromatic button accordion with free-bass system is that the reed blocks inside the accordion are replaced with quarter-tone reed blocks. The quarter-tone reed blocks are able to produce a complete quarter-tone scale of nearly five-octave range. The quarter-tone accordion was invented by Veli Kujala in 2004. The quarter-tone reed blocks were designed by Veli Kujala and built by Pigini, an accordion factory in Italy, in 2006. The tuning system used is quarter-tone equal temperament, in which the scale divides an octave into 24 equal-ratio steps. Today many composers are interested in using micro-intervals. This increases demand for instruments able to produce them. The quarter-tone accordion is one of the answers for this demand.

An overview on a highly intertwined generative system through Stockhausen's late piece Lichter - Wasser (1998-1999). Lichter - Wasser is a work that constantly attempts to conjugate the contemplation and the paroxism of an ur-element, the so called super formula, with the long sought utopia of the infinite progress of perception faculties (a journey formally began in 1955 with Stockhausen's composition Gruppen, for three orchestral groups).

This dissertation explores the ways of imagining the metaphysical space as a viable platform in music composition. I divide the paper into three large chapters: The first chapter is a philosophical grounding of the concept of metaphysical space. I reveal the concept of metaphysical space, and propose one of the possible inner structures of it. The inner structure of the metaphysical space is explained in two tiers. In the first tier, I review the Niveau Poïétique of Jean Molino's Tripartite Model, and then offer an alternative reading of the Niveau Poïétique. Thereafter, I put the first tier of the structure of the metaphysical space in a larger philosophical context, by invoking the concept of two-fold being-in-the-world by Shizuteru Ueda. In the second chapter, I present a detailed analysis of ...zu... by Mark Andre, in which I investigate how the paradigm of metaphysical space can be applied to the compositional situations of Andre and his work. The chapter is divided into two large sections. The first section is devoted to Andre's methodology in music notation. This section provides the concrete foundation necessary for the discussion of the second section, which is the musical analysis of the Andre work. The third chapter is devoted to the analysis of my recent work, Tramespace I (2012-13). This chapter is also divided into two sections. In the first section I discuss the problematics of the musical circularity from philosophical perspectives. In the second section I present an analysis of Tramespace I, by referring to the musical sketches and other pertinent compositional materials for the work. In this chapter as a whole my aim is to present one of the many possibilities of utilizing the kinds of philosophical and musical ideas derived from the preceding two chapters in the praxis of music composition, in ways that are anchored by the overarching concept of the metaphysical space.

This dissertation is comprised of a pair of related compositions, Sadhana (2015) for viola and electronics, and k. tracing (2015), a violin concerto, and a thesis that outlines my approach, detailing the influences and derivation of some of the parameters of these works and my compositional process. I offer a clear approach to working in relative intonation, for which I’ve also developed a small device called the “Maya proportional scale tool.” In this essay, I trace the structure and inner-movement of each work with regard to the derivation of its harmony, melody, rhythm and orchestration.The discussion of Sadhana focuses on the derivation of its harmonies and melodic lines from the influence of a string, as well as the conception of the electronics part and the role electronics play in the formation of the composition, whereas the discussion of k. tracing focuses on the coordinating of many independent instrumental parts, and the adaptation of rhythm and orchestration.