Thesis (D.M.A.)--University of North Texas, 2008. / System requirements: Adobe Acrobat Reader. Accompanied by 1 recital, recorded Feb. 6, 2006. Includes bibliographical references (p. 31-37).

Thesis (Ph. D.)--University of Wisconsin--Madison, 1982. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 120-127).

Research Project (D.M.A.)--West Virginia University, 2001. / Title from document title page. Document formatted into pages; contains vii, 100, [327], [287] p. : ill., music. Unpaged appendix: I. The score of A Haunted landscape; II. Music by Todd Jefferis. Includes abstract. Includes bibliographical references (p. 95-100).

Thesis (D.M.A.)--University of Texas at Austin, 1998. / Vita. Includes bibliographical references (leaves 160-161). Available also in a digital version from Dissertation Abstracts.

System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Mar. 27, 2007, Oct. 28, 2007, June 15, 2008, and Oct. 8, 2008. Includes bibliographical references (p. 92-93).

Thesis (Ph. D.)--University of Arizona, 1982. / Typescript. Includes bibliographical references (leaves 226-236).

Thesis (D.M.A.)--West Virginia University, 2007. / Title from document title page. Document formatted into pages; contains iii, 53 p. : music. Includes abstract. Includes bibliographical references (p. 50-53).

Thesis (D.M.A.)--Ohio State University, 1984. / Includes bibliographical references (leaves 103-106).

In this study, the unique style of percussion writing in the chamber works of George Crumb, written between 1960 and 1980, is examined. The principal aspects examined within this study include: the extended instrumental techniques, the use of percussion within the musical imagery, soloistic treatment, compositional and notational procedures, and specific performance problems pertaining to the chamber work Songs, Drones, and Refrains of Death.

Timbre is an important aspect of music, particularly in the twentieth century. Relatively little serious work on this subject has been published, however, either from a historical standpoint or from an analytical view. The purpose of this present study was to clarify the nature of timbre and to demonstrate the structural role it can have in music. The development of the timbre concept was traced from as early as the fifteenth century to present. From a very simple idea, timbre evolved into a complex phenomenon involving scientific, acoustical analysis and subjective, perceptual evaluation. It was found that currently timbre is not merely a physical manifestation, but also a function of aesthetic judgment and human response to stimuli. A brief historical survey was made of the importance of timbre in music. It was shown that timbre emerged as a significant musical element, forming the characteristic sound structure of a composition and (by extension) the distinctive sonorous style (Klangstil) of a composer. In developing to this point, the idea of timbre metamorphosed into a particular concept of "sound," a term that includes any sound quality that contributes to the character and structure of a composition. A process of analysis was developed to determine musical sound structure. It was shown that the sound-related aspects of the parameters of pitch, dynamics, time, texture, and timbre can act and interact to construct formal shape through cohesion and differentiation. It was established that the music of George Crumb shows a high regard for sound as a structural element. His Night of the Four Moons was analyzed, demonstrating the process of sound analysis. The analysis also showed that various qualities of sound itself are used as compositional material as well as for cohesion and differentiation. This aurally perceived, characteristic structure formed by or related to the action of sound was termed the "audiogenic image."