These compositions published commercially by Boosey & Hawkes. / 1 score (1 v.) ; / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (D.Mus.)--University of Adelaide, Elder School of Music, 2002

Faithful to My Land is a composition for orchestra in three continuous movements that reveals my deep admiration for my country, Thailand. This composition expresses my belief in the nation of Thailand, its religion, and its constitutional monarchy. The main materials of each movement refer to source ideas that relate to these three institutions of my country. This composition, which is around fourteen minutes in length, is globally organized within a tonal framework; both diatonic and chromatic notes are employed. The music does not embody traditional common practice but neo-tonality. This composition integrates various musical styles—neoclassicism, nationalism, and minimalism. The first movement refers to the Thai national anthem. This movement mainly grows from a subject, a countersubject, and two main motives. The music of the movement is largely tonal. The main materials are pervasive throughout the movement, and it is thus largely homogeneous, with little thematic contrast. The entire movement continues with a driving rhythm in various alternations. The near-continuous sixteenth notes in the viola and other string parts contribute to this energy and rhythmic drive and reinforce the orchestral color. The second movement deals with the two religions—Buddhism and Christianity— that are prevalent in Thailand. The music of this movement derives from the three main sources: Miserere mei, Deus by Josquin des Prez, a specially constructed “Buddha motive,” and an anonymous Buddhist prayer. Some compositional techniques derive from the Renaissance period. The movement also employs number symbolism relating to significant numbers in the Buddhist and Christian traditions. The third movement alludes to the constitutional monarchy with high respect. The music of the last movement is based on a twelve-note compositional idea, but it is not truly serial: a twelve-tone row with its developments—retrograde and inversion—occurs in some local areas. The last movement concludes with an epilogue, which derives from the significant materials presented in all three movements. / School of Music

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published_or_final_version / Music / Doctoral / Doctor of Philosophy

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Poetic Afterthought is an original music composition for orchestra (2-2-2-2 / 4-2-2-1 / timp-perc / piano-harp / strings). The work comprises a cycle of seven orchestral pieces inspired by seven Chinese Classical poems. The seven orchestral pieces attempt to capture the moods and impressions of the poems while carrying hints of the original structures of the poetry as if the music speaks poetry itself.

The Ghost in the Machine is a piece of music far large wind ensemble. This piece is concerned with the interrelationship between the perception of time passing in music and the level of perceived density of musical activity. Specifically, the piece is designed according to the notion that the higher the level of musical activity within smaller intervals of time, the higher the perceived level of density. The piece consists of a large-scale density envelope that spans the length of the entire piece, wherein the level of density increases gradually towards and decreases away from the climax point. The shape of this density envelope is reflected on smaller scales that operate at various levels of the music, all of which are discussed in detail in the analysis part of the thesis. These density envelopes are used as a means of structuring the listening process over the course of the piece.

Cachalote is a work for 17 musicians inspired by the study of social behavioral patterns in sperm whales. The distinctive series of clicks produced by these mammals, known as "codas," are their primary means of communication. These patterns manifest in Cachalote as a series of "sound objects", whose specific arrangement symbolizes communication, and underlines the musical discourse. The sound of field recordings provided further inspiration for the music's texture and orchestration. The composer's creation of an extra-musical narrative related to the lifecycle of sperm whales determines the appearance and ordering of the work's main gestures, and articulates the overall structure.

This thesis contains two volumes. The first is a written text that describes my compositional techniques in the context of an analysis of Codecs. The second volume is the score of this work. Volume one is divided into six sections: Introduction, harmony, rhythm and time, melodic materials, form, live electronics and future directions. Each section describes techniques and processes I developed throughout the compositional process. / Codecs was inspired by the subversive proliferation musical materials though the use of audio codecs. I developed compositional tools based on encryption and compression in order to explore the audio codec metaphor. / Volume two is the full score of Codecs, a work for large ensemble and live electronics. It is comprised of three sections and has a duration of approximately 14 minutes. The work is scored for flute (doubling on piccolo), oboe, clarinet in Bb (doubling on bass clarinet), bassoon, horn in F, trumpet, trombone, tuba, string quintet and percussion. Electronic drum pads and captured live sounds are used to control the live electronic elements.