Thesis (D.M.A.)--University of North Texas, 2001. / Accompanied by recitals, recorded Nov. 14, 1994, Nov. 20, 1995 and Nov. 23, 1999. Includes bibliographical references (p. 115-117) and discography (p. 118-119).

Thesis (M.M.)--University of Wisconsin--Madison, 1958. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references ([9] leaves at end).

Thesis (D.M.A.)--Ohio State University, 2009. / Title from first page of PDF file. Includes vita. Includes bibliographical references (p. 110-111).

Thesis (D. M. A.)--Ohio State University, 2009. / Title from first page of PDF file. Includes vita. Includes bibliographical references (p. 100-102).

Thesis (M.M.)--University of Wisconsin--Madison, 1952. / Typescript. Accompanied by miniature score of the Symphonie fantastique, annotated in pencil, in pocket (London : E. Eulenburg, 19--? (Edition Eulenburg no. 422)). Includes bibliographical references.

Thesis (M.M.)--University of Wisconsin--Madison, 1952. / Typescript. Accompanied by miniature score of the Symphonie fantastique, annotated in pencil, in pocket (London : E. Eulenburg, 19--? (Edition Eulenburg no. 422)). Title from title screen (viewed July 26, 2007). Includes bibliographical references. Online version of the print original.

Thesis (M.A.)--Ohio State University, 1985. / Includes bibliographical references (leaves 95-98). Available online via OhioLINK's ETD Center.

This dissertation is comprised of a pair of related compositions, Sadhana (2015) for viola and electronics, and k. tracing (2015), a violin concerto, and a thesis that outlines my approach, detailing the influences and derivation of some of the parameters of these works and my compositional process. I offer a clear approach to working in relative intonation, for which I’ve also developed a small device called the “Maya proportional scale tool.” In this essay, I trace the structure and inner-movement of each work with regard to the derivation of its harmony, melody, rhythm and orchestration.The discussion of Sadhana focuses on the derivation of its harmonies and melodic lines from the influence of a string, as well as the conception of the electronics part and the role electronics play in the formation of the composition, whereas the discussion of k. tracing focuses on the coordinating of many independent instrumental parts, and the adaptation of rhythm and orchestration.

published_or_final_version / Music / Master / Master of Philosophy

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