Many current schools of compositional thought evidence an interest in the integration and collision of different methods of harmonic organisation. Creating strategies that aid composers in incorporating many dramatically different methods of harmonic organisation in individual compositions will help lead to new, exciting music and ideas - the methods leading to the generation of such strategies are a central concern of this thesis. Composers can create pieces of music that engender dramatically different states of being and relate seemingly unrelated musical ideas - the manipulation of many methods of technical organisation will lead to the successful implementation of such shifts, the thesis also addresses this. A major difficulty in the furtherance of new music relates to how composers can make use of more unusual compositional techniques in contexts where performance practicalities could inhibit the realisation of a piece - working closely with soloists and ensembles lends a crucial insight into appropriate instrumental and vocal writing, a third important aspect of this thesis. In conclusion, this thesis evidences that it is absolutely possible to relate seemingly distant musical ideas in individual compositions in service of an effective, practical composition. There is a tremendous, exciting wealth of powerful musical ideas to draw upon; such ideas can be found in the collision and integration of dramatically different musics.

The aim of this study is to compare characters in classical and contemporary japanese storytelling rakugo. Classical rakugo presents cultural tastes of merchant class in the Edo period (1600-1867) while the pattern of storytellers attending lords turned to performance in public and brought several amusing characters to idealize the medieval or rather premodern world. Contemporary rakugo carries on this popular tradition spontaneously with great expectations for its future appearance. As society phenomenons effect the appearance of rakugo characters, it is possible to observe the difference between this representation of life in community in past and nowadays. To compare classical and contemporary rakugo characters I analyzed them first according to their or storyteller's utterances and defined them as literary types.

There are numerous challenges to singing contemporary classical vocal music including a number of harmonic, melodic, rhythmic, and formal elements not commonly seen in the western Classical or Romantic era compositions. There are new notations, new sounds, new ideas, and new demands. Finding a way to train college-aged singers to perform standard classical repertoire alongside contemporary classical repertoire has been a personal goal for many years. This essay contains exercises and vocalises to help train singers to prepare their instrument to perform the demanding music presented in this body of repertoire. Musical concepts covered in this essay include large interval training, laughing drills, tone clusters, and a variety of others. Current scholarship on this subject does not address the pedagogical steps of teaching music classified as contemporary classical vocal music. This essay provides exercises, vocalises, and recommendations for the development of vocal techniques required to perform works from this repertoire with healthy and secure technique.

This thesis will describe a system for the production of generative music through specific methodology, and provide an approach for the delivery of this material. The system and body of work will be targeted specifically at the personal listening audience. As the largest current consumer of music in all genres of music, this represents the largest and most applicable market to develop such a system for. By considering how recorded media compares to concert performance, it is possible to ascertain which attributes of performance may be translated to a generative media. In addition, an outline of how fixed media has changed how people listen to music directly will be considered. By looking at these concepts an attempt is made to create a system which satisfies societies need for music which is not only commodified and easily approached, but also closes the qualitative gap between a static delivery medium and concert based output. This is approached within the context of contemporary classical music. Furthermore, by considering the development and fragmentation of the personal listening audience through technological developments, a methodology for the delivery of generative media to a range of devices will be investigated. A body of musical work will be created which attempts to realise these goals in a qualitative fashion. These works will span the development of the composition methodology, and the algorithmic methods covered. A conclusion based on the possibilities of each system with regard to its qualitative output will form the basis for evaluation. As this investigation is seated within the field of music, the musical output and composition methodology will be considered as the primary deciding factor of a system's feasibility. The contribution of this research to the field will be a methodology for the composition and production of algorithmic music in realtime, and a feasible method for the delivery of this music to a wide audience.

This composition for Wind Ensemble (like Concert Band but usually only one player on a part) was Scott Master's Thesis for completing a Master of Music degree in Composition at Butler University. Written in 2010, the piece is a combination of styles, philosophies, and techniques, all in balance with each other. Avant-garde and traditional techniques are used; tonality and atonality vie with each other, resulting in a combination of the two; specific musical directions are balanced by a degree of choice available to each participant. “The Memory of Persistence” is about a journey. No specific personal story is presented, nor is the piece programmatic, but the progress and development of the piece could mirror many life situations and be accessible to anyone from that point of view. There is a progression from simple to complex, from innocence to maturity, that is demonstrated in the instrumentation as well as the melodic and harmonic elements. The title of the composition is an allusion to Salvador Dali’s painting called “The Persistence of Memory.” Even the font of the score’s title page is based on Dali’s own handwriting. Dali was a major player in the Surrealism movement of the twentieth century, combining classical elements of art with unusual, surprising, or even outrageous twists. “The Memory of Persistence” does the same thing in a musical setting. Yet, even without knowledge of Dali, the listener can understand the title because the piece demonstrates persistence through difficulty while retaining the memory of the past and incorporating it into current life.

The thesis deals with the issue of sustainability of a non-governmental non-profit organization active in the field of culture, taking into account both theoretical and practical perspective. Using the example of Prague Modern ensemble, the thesis demonstrates development of an adequate strategy with use of marketing tools to create brand awareness for the ensemble in a competitive environment. Formulation of a concrete strategy is preceded by definition of a theoretical framework that includes planning, marketing mix with emphasis put on marketing communication, corporate identity and financing with respect to the specifics of non-profit sector. Finally, the thesis provides an analysis of internal and external environment in which the ensemble operates. Based on theoretical framework and summary from the analytical part, the thesis then suggests adequate strategy for building corporate identity, marketing communication, fundraising and finally organization of the ensemble.

Between Two Worlds, with its implied dualities, alludes both to my Italian and Australian backgrounds and to my popular and art music experiences. The dissertation comprises of analyses of and critical commentary on a selection of compositions from instrumental through electroacoustic to musico-dramatic works. Further, Part I presents a précis of relevant background in order to locate the compositions within both Australian contemporary classical music and international settings, and Part I includes sections on analytical methodology and compositional technique. Compositions examined in Part II illustrate the salient features of compositional technique, specific influences and aesthetic concerns. Both instrumental works, Fra l’urlo e il tacere and Ridendo vado sul fiume, were written during the earlier period of the doctoral candidature. The discussion presents not only the seminal influences including the use of interval-class (ic) construction and music technologies but is also intended to guide the reader from solo and chamber instrumental writing through sound design and electronic soundscape composition towards the larger-scale, musico-dramatic works. Part III discusses the major contribution. It is concerned with three mixed-media musictheatre compositions that were created in the period 2000–08 and which explore crossdisciplinary relationships. Whilst maintaining a continuous development of style, the works are on a larger scale in all respects: involve national (The Last Child and Touch Wood) and international (Lontano Blu) production teams and a greater number of performers; are interdisciplinary, conceptually more complex and multilayered, and longer in duration; include extensive use of music technologies, multimedia and multichannel surround sound in performance; and use graphic/text/prose scores. By their very nature, these compositions involved significant collaborative endeavour not only with the key members of the creative teams, such as artistic directors, writers and set designers, but also the performers in general and musicians in particular. The collaborations included development of the conceptual structures of the works with the creative teams and ‘hands on’ interaction with the musicians in shaping the sound in real time through group-devised processes where appropriate.

Between Two Worlds, with its implied dualities, alludes both to my Italian and Australian backgrounds and to my popular and art music experiences. The dissertation comprises of analyses of and critical commentary on a selection of compositions from instrumental through electroacoustic to musico-dramatic works. Further, Part I presents a précis of relevant background in order to locate the compositions within both Australian contemporary classical music and international settings, and Part I includes sections on analytical methodology and compositional technique. Compositions examined in Part II illustrate the salient features of compositional technique, specific influences and aesthetic concerns. Both instrumental works, Fra l’urlo e il tacere and Ridendo vado sul fiume, were written during the earlier period of the doctoral candidature. The discussion presents not only the seminal influences including the use of interval-class (ic) construction and music technologies but is also intended to guide the reader from solo and chamber instrumental writing through sound design and electronic soundscape composition towards the larger-scale, musico-dramatic works. Part III discusses the major contribution. It is concerned with three mixed-media musictheatre compositions that were created in the period 2000–08 and which explore crossdisciplinary relationships. Whilst maintaining a continuous development of style, the works are on a larger scale in all respects: involve national (The Last Child and Touch Wood) and international (Lontano Blu) production teams and a greater number of performers; are interdisciplinary, conceptually more complex and multilayered, and longer in duration; include extensive use of music technologies, multimedia and multichannel surround sound in performance; and use graphic/text/prose scores. By their very nature, these compositions involved significant collaborative endeavour not only with the key members of the creative teams, such as artistic directors, writers and set designers, but also the performers in general and musicians in particular. The collaborations included development of the conceptual structures of the works with the creative teams and ‘hands on’ interaction with the musicians in shaping the sound in real time through group-devised processes where appropriate.

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