No description available.

No description available.

No description available.

Echoes is an interactive composition for amplified chamber ensemble and computer. The entire research that led to this piece was based on the exploration of the evolution of the sound produced initially by the acoustic instruments and then interpreted by the computer. Why "Echoes"? / As a sonic phenomenon the echo has several fairly distinct dimensions. These are commonly understood to include the following: the repetition of a sound by reflection of sound waves from a surface; any repetition or imitation of words, style or ideas; the sympathetic sound response; and, in music, a soft repetition of a phrase. Note that these standard definitions include the figurative dimensions, as in the 'imitation of style or ideas.' This is no coincidence, since I am very much intrigued by the idea of a computer first imitating the actual instrument and then expanding that instrument's possibilities far beyond its timbre.

No abstract available. / Thesis (M.Mus.)-University of KwaZulu-Natal, Durban, 2008.

No description available.

The Crying Wave is a twenty minute music composition for an amplified ensemble of fifteen instruments combined with a prerecorded electroacoustic audio component and live signal processing. The composition explores the use of fundamental electroacoustic music techniques such as additive, subtractive, and granular synthesis as models for the creation and manipulation of materials and structure in both the instrumental and electroacoustic aspects of the work. Two series of harmonies underlie the piece and serve as both harmonic and melodic resources. Procedures including additive/subtractive durations, palindrome and canon, the Fibonacci series, and antiphonal alternation of instrumental groups are used throughout the composition to provide structural coherence. The MIDI data processing software Max is employed to control a number of aspects of the work during performance, including playback of prerecorded electroacoustic audio segments on compact disc, changes of effects algorithms for digital signal processing modules, and the generation of a click track for synchronization. The following dissertation presents an analysis of the work in terms of the aforementioned concepts and techniques.

This investigation into instrumental music teaching at the tertiary (conservatorium) level sought to observe and describe typical teacher and student behaviour in this under-researched educational setting. The aim of the study was to examine a wide range of areas associated with instrumental music teaching in order to identify patterns of behaviour exhibited by teachers and students and to define teaching and learning styles present in advanced applied music teaching. After a review of literature on teaching in general and on music teaching in particular, an observational instrument for individual instrumental music lessons was developed and refined in pilot studies. 12 prominent Australian teachers were videotaped teaching 24 students, with the sample being balanced geographically, institutionally, by instrument (three mainstream groups: piano, strings and winds) and by gender (equal numbers of male and female teachers and students). Steps were taken to observe realistic teaching of typical students and to minimise the observer???s intrusion into the lesson dynamics. The videotaped lessons were analysed using an observational instrument and the data was subjected to various statistical analyses. Results are reported according to five main areas (lesson structure, lesson content, teaching methodology, teacher/ student relationship, and teaching and learning styles) and discussed with reference to existing literature. The conclusions of this study enhance current understanding of studio music teaching, by supporting many of the findings of previous research and substantiating their application to advanced instrumental music teaching. This study provides new insights into the underlying structure of instrumental music lessons, the primacy of technique in terms of lesson content, the use of teaching strategies such as demonstration, evaluation and questioning, gender differences between teachers and between students, and the types of teaching and learning styles that are prevalent in conservatorium settings. Findings contribute to and extend existing research into applied music teaching.

Thesis (Ph. D.)--University of Washington, 1988. / Vita. Includes bibliographical references.

Thesis (Ph. D.)--University of Florida, 2006. / Title from title page of source document. Document formatted into pages; contains 168 pages. Includes vita. Includes bibliographical references.