The Peabody Conservatory commissioned Estudios De Frontera by Alejandro Viñao in 2004. Percussionist Robert Van Sice initiated the commissioning process. Estudios De Frontera is the first composition for percussion ensemble by Viñao. Viñao's Estudios is written in two movements. The first is titled Homage to Nancarrow. As the title implies the compositional processes are directly influenced by Conlon Nancarrow. The composer states: "Homage to Nancarrow is concerned with the perceptual illusion of multiple simultaneous speeds or tempi....This movement explores the type of rhythms that create the illusion that multiple independent tempi are being heard while remaining playable by musicians." The purpose of this document is to provide a rhythmic analysis describing the techniques used by Chopin, Ligeti, and Nancarrow, and demonstrating their manifestation in the first movement of Alejandro Viñao's Estudios de Frontera. The analysis provides detailed information in regards to Nancarrow's rhythmic structures including: ostinato, hemiola, isorhythm, accelerations, and implied poly-tempo. Additionally, by seeking advice from notable performers and ensembles, the areas of greatest concern are identified, and strategies towards rehearsal and performance are recommended. The performance guide is included as an appendix to the analytic body of the paper.

Among the Voices Voiceless is a composition for flute (doubling piccolo), clarinet (doubling bass clarinet), viola, cello, percussion, piano, and electronics, based on the poem "What would I do without this world faceless incurious" by Samuel Beckett. The piece is a setting for disembodied voice: the vocal part exists solely in the electronics. Having no physical body, the voice is obscured as the point of empathy for the audience. In addition, instrumental solos compete for focus during the work's twenty minute duration. In passages including a soloist, the soloist functions simultaneously as antagonist and avatar to the disembodied voice. Spoken word recordings and electronic manipulation of instrumental material provides further layers of ambiguity. The companion critical essay "Among the Voices Voiceless": Setting the Words of Samuel Beckett proposes the distillation of Beckett's style into the elements of prosaicness, repetition, fragmentation, ambiguity, and symmetry. Discussions of Beckett's works such as Waiting for Godot and Molloy demonstrate these elements in his practice. This framework informs the examination of two other musical settings of Beckett's poetry: Neither by Morton Feldman and Odyssey by Roger Reynolds. Finally, these elements are used to analyze and elucidate the compositional decisions made in Among the Voices Voiceless.

This thesis explores collage music's formal elements in an attempt to better understand its various themes and apply them in a workable format. I explore the work of John Zorn; how time is perceived in acoustic collage music and the concept of "super tempo"; musical quotation and appropriation in acoustic collage music; the definition of acoustic collage music in relation to other acoustic collage works; and musical montages addressing the works of Charles Ives, Lucciano Berio, George Rochberg, and DJ Orange. The last part of this paper discusses the compositional process used in the works Tempered Confetti and Venni, Viddi, – and how all issues of composing acoustic collage music are addressed therein.

This dissertation explores the analysis and creation of compositions from the standpoint of texture and momentum. It is comprised of four chapters. The first presents a number of concepts as tools for analysis, including textural typography and transformation, perception of time and psychological engagement of an audience, and respiration as a metaphor for musical momentum. The second and third chapters apply these tools to Gerard Grisey's "Periodes" and "Partiels," and Brian Ferneyhough's "Lemma-Icon-Epigram." The fourth explores specific methodologies used in composing my dissertation piece, "Phase," including the application of number systems ranging from formal to local levels.

Cross – cultural composition has been defined as the creation of a cultural synthesis of the old and new, traditional and foreign into philosophical, artistic, stylistic and aesthetic product that communicates to various audiences. The study adopted a mode of creativity / dynamic approach through the synthesis of traditional Samia marriage music and Western compositional techniques and approaches. To ground the study in the rich cultural traditions of the Samia people of Funyula Division in Western Province of Kenya, an anthropological documentation formed an important part of the study. The study adopted Absolute Formalism theory by Reimer (1989) based on component relationships in which different parts like harmony, melody, and text rhythm relate to one another to create unity. The study also incorporated Aesthetic Functionalism theory by Akuno (1997) on social functions in which; the contextual meaning of the composition was based. The study used the Accommodation theory on Convergence, Giles and Smith (Giles & St Clair, 1979) to unify the analogous aspects in the two stated theories. In the study, descriptive and creative designs were used to cater for the music and social context. In the descriptive phase, Samia marriage folk songs were collected from traditional performers, who were also, interviewed using a questionnaire. Purposeful and snowball sampling techniques were used to select twenty folk songs. They were recorded, transcribed and analysed for dominant traditional musical features and compositional promise. In the creative phase, lyrics were identified and reorganised, the prevalent features isolated and used. The result was a compositional inspiration on which the Marriage Suite was based. The ultimate product of the study was an artistic model framework that could guide the creation of art music using Kenyan traditional music idioms; accomplished through the Marriage Suite. To safeguard contextual and music fidelity, member checking was consistently maintained during data collection and creative phase. Rhythmic and melodic accuracy of the transcribed songs was ascertained by play backs using FINALE music notation. Social identity in the composition was taken into account through use of Samia music characteristics that included intervals, solo-responsorial aspects, overlapping entries, parallelism and common rhythmic patterns. / Art History, Visual Arts & Musicology / D. Litt et Phil. (Musicology)

Accompanying music files attached (mp3) / The Bukusu community is predominantly found in Bungoma district of Western Kenya. The Litungu is a word referring to a lyre among the Bukusu community. Music accompanied by this instrument is what is referred to as Litungu music. This music makes use of sung text and “verbal-text”/ silao-sikeleko (speech and speech-melody) and silao-sikeleko is the focal point of this study. Silao-sikeleko is performed in alternation with sung text in Litungu music. This study seeks to identify the cultural and compositional role of silao-sikeleko in the music. To achieve the objectives of this study I used a qualitative approach to collect and analyze data. Data collection included the use of interviews and observation. The interviewees included performers of Litungu music, whose music was audio recorded and video recorded for analysis. In addition, I made observations of the performance sites and performance behaviour, taking notes and making audio and video recording. Music for analysis was then selected on the basis that it had the silao-sikeleko component. The Bukusu cultural view of silao-sikeleko is discussed in relation to their customs and way of life. The execution of silao-sikeleko is based on a culturally conceived framework that allows the involvement of various performers in the performance composition process. Here the contexts within which silao-sikeleko is performed are identified. Analysis of the relationship between sung text and silao-sikeleko established that whereas the two are thematically unified, silaosikeleko substantiates the sung texts by facilitating an understanding of messages contained in the songs. The analysis of language use ascertained that silao-sikeleko makes use of language devices such as proverbs, idioms, symbolism, riddles and similes. I established that silao-sikeleko as a performance compositional element has its own presentational structure that influences the overall structure of the Litungu music. Litungu music has a quasi-rondoic structure whose output is not static but varies according to context and the wishes of the soloist. The soloist interprets how effectively a given message has been communicated during performance determining how much silao-sikeleko should be performed. Silao-sikeleko is in most cases composed and performed by various members of a performing group. / Arts History, Visual Arts & Musicology / D. Mus.

Alien-colour : for woodwind quintet -- Two bagatelles for the solo piano -- Duodecat : for large ensemble -- Moonlight : for solo voice and percussion -- Activation : for orchestra. / Yang Jin Fong. / "June 2004." / Thesis (D.Mus.)--Chinese University of Hong Kong, 2004. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Mode of access: World Wide Web. / Abstracts in English and Chinese.

Dead water : song cycle for tenor and piano -- Shan shui : for string quartet -- Kuang fu : for SSAAATTBB and yangqin -- If life is unknown : for wind quintet -- Symphony II : Marrison for chamber orchestra, male choir, erhu and zheng -- Jazzy illusion of a Chinaman : for clarinet/bass clarinet, piano/electric keyboard, electric guitar, drum set, cello and double bass -- Liao Zhai : Chinese strange tale for recorders , percussions, soprano, tenor and baritone -- A madman's diary : piano solo work. / Tam, Chin Fai. / Thesis (D.Mus.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (leaves 391-392). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong , [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstract also in Chinese; includes in Chinese.

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

Title page, table of contents and abstract; v.2: table of contents; v.3: table of contents only. The complete thesis in print form is available from the University of Adelaide Library. / This doctoral submission comprises three volumes and is entitled Twistonality: A Personal Exploration. Volume One consists of a portfolio of eleven original compositions, Volume Two is an exegesis and Volume Three contains live and/or computer-generated recordings of the music. The works are scored for a variety of instrumental and vocal combinations. The compositions explore the use of tonality as a basis for the creation of a uniquely personal style which incorporates musical gestures encountered in both traditional and contemporary performance practice. The term 'twistonality', devised for this submission, refers to a musical language in which a composer may express original ideas by twisting forms and tonal structures already resident in the conscious or subconscious memory in order to reflect his or her emotional reality as experienced through music. / http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1283916 / Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2007