Treatise (D.M.A.) Florida State University, 2005. / Advisor: John Drew, Florida State University, College of Music. Title and description from dissertation home page (viewed 7-11-07). Document formatted into pages; contains 86 pages. Includes biographical sketch. Includes bibliographical references.

Thesis (D. Mus. Arts)--University of Washington, 2003. / Vita. Includes bibliographical references (leaves 53-54).

Thesis (Ph. D.)--Oregon Health & Science University, Department of Science & Engineering, September 2008. / Includes bibliographical references (leaves 147 - 158).

Thesis (M.A.)--Ohio University, August, 2004. / Includes bibliographical references (p. 77-84).

Dissertation (M.Mus. (Performing Art))-University of Pretoria, 2007. / Summary in Afrikaans and English. Includes bibliographical references.

Thesis (M.A.)--Ohio University, August, 2004. / Title from PDF t.p. Includes bibliographical references (p. 77-84)

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.

Thesis (D.M.E.)--Indiana University, 2006. / Computer printout. Includes bibliographical references (leaves 127-133) and abstract.

Thesis (Ph. D.)--University of North Texas, 2002. / Includes bibliographical references (p. 302-314).

The purpose of the study was to compare two instructional methodologies designed to improve the intonation accuracy of seventh grade violin and viola instrumentalists. The collection of data was in regard to (1) instructional methodology: aural and aural/visual, (2) performance tasks: A, B, and C; (3) individual pitches (seven from each of the music tasks), and (4) differences between instrument groups: violin and viola. Sixty-eight seventh grade string students from three string classes of two middle schools were randomly assigned to two experimental groups: (a) aural and (b) aural/visual. The instructional period was implemented daily in ten-minute sessions during twenty days by the orchestra instructors of each school. A pretest-posttest format was used to determine if there were any changes in the subjects' intonation accuracy from prior to after the instructional phase was implemented, and if these changes could be attributed to any of the methodologies. The testing material used on both testing sessions included three performance tasks composed of seven notes each. Subjects were recorded on both testing occasions. The data were the scores of absolute pitch deviation, measured in cents from equal temperament, from the pre- and postest; these were treated with analysis of variance. The ANOVA on the posttest scores indicated a non-significant difference between the instructional methodologies in their effectiveness to improve the subjects' ability to play in tune.