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This essay presents an analysis of Crystallisation, a composition for a large orchestra. The work consists of a single movement, with a duration of approximately 15 minutes. / The analysis focuses mainly on formal structure, pitch organization, texture and rhythm. Some of the main topics are: large-scale form and subdivisions of each section, thematic interrelations of the sections, central pitches, pitch collections, chord structure and interrelations between texture and rhythm. / Throughout the course of the work, the music closely follows an overall process of searching for a valid structure and "core". In realizing this process the music takes on a variety of devices, among them: various kinds of symmetry within texture and form; thematic relations between separate sections through variants and material transformation; a coherent pitch organization which contains structural pitches, symmetrical collections and three main groups of chords; a complex and carefully structured rhythmic organization. / The concluding section of this essay compares between some of the properties of a crystal and the structure of various parts in Crystallisation.

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Balbuzard is a musical composition of approximately twelve minutes in length, scored for solo clarinet, wind symphony and electronics. It focuses on cluster-like sound masses and explores ways of using these to give the music a clear sense of direction. To this end, tools were developed using a variety of computer applications or programming languages, such as Lisp, OpenMusic and Cubase. These tools made possible a kind of graphic composition where diagrams of different shapes were entered into a computer interface and converted into source material. The generated source material consisted of several rhythmic strata whose pitches, mainly part of diatonic, octatonic or chromatic collections, followed the contour of the entered shape. With this visual process, it was also possible to explore the creation of contrapuntal textures by entering diagrams of lines representing the path of each contrapuntal voice.* / *This dissertation is a compound document (contains both a paper copy and a CD as part of the dissertation). The CD requires the following system requirements: Windows MediaPlayer or RealPlayer.

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This submission comprises a portfolio of fifteen original musical works and an exegesis that comments on five of these works. Recordings of twelve of the fifteen compositions are included. These pieces demonstrate an ongoing investigation into structure, and the discussion will provide an insight into the constant process of experimentation and consolidation involved in developing such a body of work. In the exegesis I open with a general conversation on the compositional process and then focus on the formal problems inherent in this process. I then discuss the five scores included in the main volume, looking at how each are formed, and comparing their formal characteristics. This involves an analysis of the musical materials and how such materials are treated through repetition and transformation. I will also look at the aesthetic and stylistic concerns and how they inform the formal architecture of each work. An appendix includes the scores of a further ten works, with a brief introductory commentary on each. / http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1351235 / Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2008