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This portfolio consists of eight original electroacoustic compositions on fixed media and a commentary.  The compositions are as follows: <i>Hannah Throwing Stones</i> (8 channel), 2004 (28:00); <i>Cut Glass Bowls</i>, 2004 (8:23); <i>Maya</i>, 2005 (10:02), <i>Dream Machines</i> (8 channel), 2007 (12:49); … <i>dévoiler …déplier …, </i>2007 (11:32); “<i>Be not afeard: the isle is full of noises”</i>, 2008 (11:24); <i>Ceol Mhor</i>, 2008 (14:12); <i>Tenebrae, </i>2008 (11:54). The music in this portfolio illustrates the important elements of my compositional aesthetic such as an adventurous approach to sound source gathering, the continuation of my work as an instrument builder and the extension of this work into the virtual realm.  The pieces also illustrate noticeable developments in my technical and conceptual approaches; a concern with highly detailed craftsmanship, an interest in high resolution recording and mixing, in space and spatialisation, in narrative and the use of a programme, in the techniques and aesthetics of field recording.

The Ruination of Atlantis is an original ballet in thirteen movements composed for prerecorded media using sampled orchestral and other instruments. The purpose of this essay is to discuss the reasoning behind composing a work for a "virtual" instead of an actual orchestra followed by an analysis of the overall structure of the piece, analyses of the use of leitmotif throughout the work, and an analysis of the pitch, rhythmic, and harmonic material of the piece as a whole and each individual movement. The conclusion of this paper is a description of the concept of staging and performance of The Ruination of Atlantis.

Thesis (Ph. D.)--University of Michigan, 1981. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 320-329) and index.

Thesis (Ph. D.)--York University, 1999. Graduate Programme in Music. / Typescript. Includes bibliographical references (leaves 407-424). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pNQ46305.

Selected works for horn and electronic media, a performer's guide: Primitive modern : for horn and recorded CD / James Beckel. / text

The Creative Project entailed a twofold apologue: a graduate recital and an accompanying paper. The recital, performed on April 3, 1974, included compositions representing the Classic Period, the Romantic, and the Contemporary or so-called New Music. The program consisted of W. A. Mozart's Trio No. IV, Opus Kv. 498, for Viola, Clarinet and Piano, John Ireland's Fantasy-Sonata for Clarinet and Piano, and Aaron Copeland's Concerto for Clarinet. Additionally, an original composition employing the use of three clarinets, Eb Soprano, Bass and Bb Soprano and accompanied by quadraphonic tape was given its premier on this recital. The accompanying paper dwells entirely upon this composition.Three Movements for Three Clarinets and Quadraphonic Tape was the first composition of its genre to be realized at the University. Topics that have been discussed in the paper include tape techniques employed in the composition, a description of the ARP 2500 Synthesizer Modules and the patches that were used to synthesize the various electronic sonorities incorporated in the recording of the quadraphonic tape. / School of Music

This creative project explores the technical and musical possibilities associated with the composition of an electro-acoustic work, scored for double bass, eight-channel digital audio, and interactive electronics, that integrates the uniqueness and spontaneity of live performance with the textural, timbral, and spatial complexity that can be achieved through the use of prerecorded digital audio. The most significant compositional idea that is explored in this work is the interactions between the double bass, digital audio, and interactive electronics. These three components interact with one another on several levels. This is not limited to harmonic, melodic, or rhythmic components, but also includes such attributes as timbre, texture, dynamics, timing, improvisation, and sound projection. To create this interaction, several computer applications are used for the realization of the digital audio and score notation, and in live performance. / School of Music

Thesis (M.M.)--Conservatory of Music. University of Missouri--Kansas City, 2006. / "A thesis in music composition." Includes compact discs. Typescript. Advisor: James Mobberley. Vita. Title from "catalog record" of the print edition Description based on contents viewed Nov. 12, 2007. Online version of the print edition.

Dissertation (Ph.D.) Florida State University, 2007. / Advisor: Steven N. Kelly, Florida State University, College of Music. Title and description from dissertation home page (viewed 3-28-2008). Document formatted into pages; contains 136 pages. Includes biographical sketch. Includes bibliographical references.