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Abstract not available.

No description available.

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No description available.

The Prelude, Chorale and Fantasy is a tonally conceived work for orchestra with a duration of approximately twenty minutes which uses as its inspiration the final chapter of Ecclesiastes. It is constructed from a relatively small number of germinal elements which function throughout the work as connecting forces and icons. In it can be found musical ideas used to represent the Trinity, the most significant of which are the quotations of the hymn "How Brightly Shines the Morning Star" which appear throughout. / A greater understanding of the work can be gained by approaching it first on a philosophical level, making connections between the Biblical text and the music and extrapolating from those connections. Following this, a step by step analysis will show the microscopic structure of the work and its relationship to the larger form.

The paper details and discusses the compositional issues and techniques employed in the candidate's M.Mus. Thesis Composition Filigranes pour les Freres Limbourg. The piece takes its title and inspiration from the work of the fourteenth-century master-illuminators and also makes reference to music of the same period, while at the same time being grounded in a post-serial aesthetic. The composition's relationship to these models and the specific compositional processes derived from the resulting fusion of certain aspects of mediaeval music (including modality and numerology) with serial technique are described and illustrated. Special emphasis is placed on the interaction of abstract organisational principles (such as permutation) and their musical results.

The way I approached this analysis was to start with two general statements, one on the form and the other on the harmony. This was so the reader could get a sense of the direction of the piece. Then I did a fairly detailed analysis of the introduction since most of the ideas originate from there. The rest of the piece is discussed in less detail, but occasionally there were places that needed a little more detailed explanation. In the postscript I describe some of my influences.

Vox Machina, for soprano, chamber ensemble, real-time digital signal processing and digital sounds, deals with the historical relationship between humanity and machines. The text uses excerpts drawn from a variety of sources, all in the public domain, as well as material written especially for the piece by the composer. The instrumental ensemble consists of 8 performers: flute, b-flat clarinet, horn, violin, viola, cello, guitar and percussion. A conductor is required, as well as a technician to control a mixing board and the performance of computer-generated sections of music. Digital sounds may be performed directly from computer, or may be played from DAT cassette.