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And drown the wakeful anguish of the soul is a composition for chamber ensemble of thirteen performers. It is scored for flute/piccolo, clarinet, bass clarinet, two horns, percussion, piano, electric guitar, two violins, viola, cello and contrabass. The piece comprises thirteen variations on a musical idea which, although never explicitly stated, is reflected in every aspect of the work. The composed omnipresence of this idea is intended to impose homogeneity upon the variety of its manifestations.

Instrumentation: 1*(1.=picc.)-1-2*(2.-Bb+bass cl.)-1 / 1-1-1-0 / 2 perc., 1 keyb. (piano+celesta) / 1-1-1-1-1 / The work is approximately 14 minutes long, and consists of six movements which make up a series of musical tableaux, placing greater emphasis on their contrasting characters instead of on gradual and continuous development of material. These movements take their inspiration from activities or situations encountered in everyday life, thus revisiting the old tradition of "character pieces" as encountered, for example, in the music of many composers such as Schumann, Grieg or Mussorgsky. / It is followed by an analysis which examines the harmonic syntax and the language of the work as it relates to the program suggested by the title.

Mile End Believing is a composition for eight woodwinds, four brass, and two percussionists, with a duration of approximately 13$ sp prime40 sp{ prime prime}.$ The inspiration for the piece is a Montreal neighbourhood whose cultural diversity suggested a number of short sections which, although contrasting, are linked by the nature of their relationship to one another. The eight main sections all have the same duration, and some sections are recapitulated towards the end of the work.

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Queezinart---hocket in a blender is a composition for five woodwinds, five brass, percussion (two players), piano, two violins, viola, cello and double bass, with a duration of approximately 14 minutes. There are six main sections in this piece. The work is structured so that musical ideas flow smoothly and gradually between sections. Also, the musical events are organized in such a way that the perceived, experienced time is manipulated and distorted, through varying activity and density of musical events.

Apparent Motions is an original composition for an ensemble of fifteen musicians consisting of percussion, harp, keyboards, and stringed instruments. This dissertation is comprised of the composition as well as a written analysis of the composition. The analysis presents the most important technical features of the piece, including pitch organization, counterpoint, and motivic elaboration. Techniques are related to the overall objectives of the work, which involve the composer's personal approach to musical time. The particular treatment of time in the piece results from the coexistence of linear/developmental organization along with cyclical organization. The cyclical features intentionally interfere with the implication of progress by the linear/developmental features. The work's temporal strategy is analyzed in relation to theories regarding musical time put forward by Jonathan Kramer. 1 The primary conclusion reached is that the piece makes use of Kramer's "multiply-directed linear time." / 1Jonathan Kramer, The Time of Music: New Meanings, New Temporalities, New Listening Strategies (New York: Schirmer, 1988).

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No description available.