Thesis (M.M.)--University of North Texas, 2003. / Score of Tele (p. 50-54); in part graphic notation. Includes bibliographical references (p. 45-46).

此作品集提供有一篇文章介紹72-TET記譜法及七首音樂作品。音樂作品採用不同編寫，包括樂團三首，室內樂作品三首，藝術歌曲一首。 / Seven works (three orchestral, three chamber, and one vocal) written and performed in the last three years constitute this portfolio, along with an introductory essay discussing a common feature in many, a form of 72-TET notation. For all of these pieces, microtones are employed; for some, this is fundamental to the technical construction of the piece, while, for others, microtones function as ornamental devices. / The variety of compositional goals enabled through microtonal notation is reflected in the differing technical approaches to the works: East Cathedral for full orchestra requires a representation of 19 just intonation overtone pitches (as high as the 125th harmonic) which enable a shifting timbral palette, sometimes orchestrating closely defined intervals otherwise impossible to approximate using conventional notation. A similar approach is found in ON/OFF which retunes five electric guitars to certain overtones between the eighth and 39th harmonics but which accomplishes much higher partials by employing a violin bow. Suite for string orchestra with sheng employs traditional diatonic harmonies employing simple just thirds juxtaposed with natural harmonic clusters in the low strings and at other times leading to untraditional diatonic clusters or extended collisions of microtonal comma values. Study and Variation on an Extended Pythagorean Tuning for violin, cello, and guzheng employs a collection of pitches selected from a spiral of perfect fifths, while Hymn to Morning, on the classic hymn text of Thomas Ken, uses quarter tones in the vocal part only, constructing modes outside of the established diatonic system. Duo: in cerca for violin and viola uses quartertones and glissandos to contribute to its wide range of techniques approximating dramatic dialogue between the instrumentalists, employing pitch “bending and characteristics of vocal portamento, while, similarly, Déjà vu for solo violin, harp, piano, and string orchestra also includes quartertone notation and glissandos to help lead the listener into a series of interludes at odds with the melodic statements of the soloist. / East Cathedral : for full orchestra -- Déjà vu : for solo violin, harp, piano, and string orchestra -- Suite : for string orchestra with sheng -- Study and variation on an extended Pythagorean tuning : for violin, cello, and guzheng -- Duo : in cerca : for violin and viola -- Hymn for morning : for voice and piano -- ON\OFF : for five electric guitars. / Detailed summary in vernacular field only. / Marshall, Eli Matthew Bakaley. / Thesis (D.Mus.) Chinese University of Hong Kong, 2014. / Includes bibliographical references (leaves xxxiii-xxxvi). / Abstract also in Chinese.

Examines the use of vernacular, country guitar styles in an electro-acoustic environment. Special attention is given to performance practices and explanation of techniques. Electro-acoustic techniques-including sound design and spatialization-are given with sonogram analyses and excerpts from the score. Compositional considerations are contrasted with those of Mario Davidovsky and Jean-Claude Risset with special emphasis on electro-acoustic approaches. Contextualization of the piece in reference to other contemporary, electric guitar music is shown with reference to George Crumb and Chiel Meijering.