This dissertation is comprised of three recent original compositions- Dis Un Il Im Ir, In sin fin bin din bin fin sin in, and Percussion+Guitar. Each work has a unique approach to integrating instrumental performance with humans and computers. The essay component details unique computer-performer interactions I’ve developed to overcome complications in the concert presentation of previous acousmatic and mixed media works. The three works discussed here are related in their instrumentation and compositional style. Dis Un Il Im Ir (2013), for flute, piano, and MIDI keyboard, experiments with the limit of human virtuosity and attempts to extend its affect via sound synthesis and digital samples. In sin fin bin din bin fin sin in (2104), for four computer-controlled pianos with electronic sounds, focuses on repeated melodic and harmonic patterns explored in previous works contrasted with unruly mechanical spasms. Percussion+Guitar (2015), for two computer-controlled flutes (contrary to the title), features a specially designed instrument built at Columbia University’s Computer Music Center. This composition is a duet with a structure defined by heightened rhythmic angularity and blazing fast speeds demonstrating the computer's special skills as a performer. The essay part of this dissertation includes an analysis of the pitches, rhythms, and gestures where appropriate. I provide details about the artistic uses of software and hardware for each project. I trace my artistic inspirations for composing with and for computers and robots to my experiences in acousmatic music, pop production, and hands-on music making. I describe my process of organizing contrasting sounds into form-bearing elements- an approach inspired by Pierre Schaeffer’s typomorphology of sound objects later revisited by Lasse Thoresen. The paper concludes with a brief discussion about future works.

This doctoral research comprises a practitioner-based reflective enquiry to bridge the gap between theory and practice and enhance my compositional output. In tandem with the composition of my chamber opera, The Exile, I have undertaken research into characterisation within the context of opera and musical theatre, with a focus on both the delineation of individual characters and the context in which they appear. Parameters of the work are discussed in comparison with canonic works of both opera and music theatre. Contemporary uses of leitmotif, representation of speech and folk music within operatic works are acknowledged and their influence on the composition is presented along with musical examples. The conventional composer-librettist partnership is discussed, along with suggestions for how respective roles for composer and librettist have evolved in recent times. An insight into the collaborative compositional process is presented in the final chapter, as my work with librettist Gillian Pencavel is discussed. The Exile is an original work informed by this research and is a contribution to the repertoire as well as an investigation into many compositional techniques presented in this thesis.

Thesis (M.A.)--York University, 2000. Graduate Programme in Music Composition. / Typescript. Includes bibliographical references (leaves [39-41] of unnumbered sequence at the end. Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pMQ59209.

Thesis (M.A.)--Memorial University of Newfoundland, 2001. / Bibliography: leaves 262-278.

Thesis (Ph. D.)--UCLA, 2009. / Vita. Description based on print version record. Includes bibliographical references (v. 1, leaves 126-134).

No description available.

The purpose of this study was twofold: first, to collect information relating to `classic' sound synthesis methodologies which have formed the basis of current synthesis methods into one comprehensive report, and secondly, to describe and develop an interactive CD-ROM as a new tool for the instruction of these synthesis methods. The historic trend has been the acquisition of sound synthesis through direct interaction with a particular piece of software or hardware. The intentions of this interactive media are to allow students to form conceptual knowledge, and develop the ability to perceive timbral differences produced by these methods. This environment allows students to interact at their own speed and assist in customizing their learning development.

The purpose of the present research was to provide ideas for positive stress management in the orchestra world to help achieve high-level performances. The author developed the Orchestral Performance and Stress Survey and distributed it to 230 musicians of three orchestras that comprised full-time and part-time professional as well as community orchestra musicians. The survey sought to identify stress-causing and performance-enhancing factors in the orchestra environment. Questions on the musicians' background allowed for comparisons to identify groups with particular needs. Results show that musical training often does not include stress management training. Playing-related injuries are common. Two-thirds of full-time musicians who responded have suffered injuries that forced them to stop playing for more than one week. On average, musicians reported that stress neither detracts from, nor enhances performances. The most stressful concert types were classical concerts. Highly critical audiences are the most stressful. / School of Music

Thesis (M.A. (Hons.)) -- University of Western Sydney, 2004. / Presented in fulfilment of the requirements for the degree of Master of Arts Honours to the School of Contemporary Arts, University of Western Sydney, April 2004. Includes bibliography.

Thesis (MA (Hons.)) -- University of Western Sydney, 2003. / "Exegesis in partial fulfilment of the requirements for Master of Arts (Honours)" Bibliography : leaves 54-57.