Dissertation (D.M.A.)--The University of North Carolina at Greensboro, 2008. / Directed by Deborah Egekvist; submitted to the School of Music. Title from PDF t.p. (viewed Aug. 25, 2009). Includes bibliographical references (p. 251-264).

This internship with the Louisiana Philharmonic Orchestra, a nonprofit arts organization, was from June 25, 2001 through September 25 ,2001, and is required in partial fulfillment of a Masters Degree in Arts Administration from the University of New Orleans. My internship involved work with the Development, Accounting, Marketing/PR, and Grants and Special Projects departments. This report details the tasks for which I was responsible. The Louisiana Philharmonic Orchestra has a unique governance structure, as this organization is the only musician owned and operated symphony orchestra organization in North America. This report also outlines the organizations' structure and discusses issues and prescriptions as they relate to this unprecedented governance framework.

This report provides an analysis of an internship with the Louisiana Philharmonic Orchestra during the Summer and Fall of 1996. The report highlights the history and management style of the Louisiana Philharmonic Orchestra plus the numerous assignments of the intern. Additionally, suggestions are made for improvements in the functioning of the organization. Appendices are found at the conclusion of thepaper. All information is based on the 1995-1996 and 1996-1997 seasons unless otherwise noted.

This thesis is a description of my graduate internship with the Louisiana Philharmonic Orchestra. The internship occurred during the University of New Orleans Spring Semester 1998.

This thesis describes a graduate student's internship an analysis of the offices of the Louisiana Philharmonic Orchestra. The internship took place during the University of New Orleans' 1994 fall semester. The Louisiana Philhannonic is a pioneering arts organization that is owned and operated by its own orchestra players. The organization's primary goal is to introduce the highest possible quality music to the Gulf Coast region. The information in this document primarily discusses the Departments of Marketing and Audience Development and Advertising. The information in this document is based on personal experiences during the time of the internship.

Thesis (M.M.)--Boston University

The main objective of this compositional research is to explore and develop different methods to create a clear narrative of the spiritual journey in Buddhism in my music. This portfolio of compositions consists of six works, predominantly for orchestra, written between the years 2005 and 2010, accompanied by a commentary.

My work Anisotropic Streaming is written for the University of Iowa Symphonic Orchestra. It is approximately 16 minutes in length. The inspiration of the piece was the cosmic background radiation remaining from the Big Bang. In 1964, it was discovered that space was filled with a faint amount of radiation; a relic from the time when slight temperature variance allowed for the coalescence of particles. These particle collections soon had varying masses and therefore varying gravitational pulls, which in turn created the stars and galaxies. Since the universe expanded while the temperature variances allowed for this particle accumulation, the background radiation is patterned in a manner that is anisotropic: a nearly uniform arrangement of the radiation that appears different depending on the observer's orientation. As a formal tool, this phenomenon has suggested a compositional process focused on transition and contextualization. The concept of anisotropy manifests itself in my composition in a number of ways. The first of three sections "collects" individual pitches until those frequencies are no longer perceptible - the listener's mind fuses the pitches into a single yet complex sonority. This fusion is encouraged further by the arrangement of pitches mimicking the overtone series. The second section features a very active and thick texture combining to make a single mass of sound. The texture gradually removes layers to reveal the individual short melodies that make up the mass. The third section rearranges these short melodies, making the high melodies low and the low melodies high. Each melody grows one note longer on each iteration, until each are so long they begin to fuse into a single, complex sonority. In these ways, I attempt to create the same kind of sound but through a shifting perspective, exposing sound's anisotropic construction. Formally, the piece divides into three sections, each a composite sound at different levels of synchronicity and perspective. The sections are further subdivided into two parts, the first being transitional and the second being a more static exhibition of the section's conceptual purpose. The pitch material in expositional areas is based on the mathematical overtone series (rounded to the nearest semitone). Pitch material in transitional phrases collects into aggregates, generally derived from a frequency modulation, amplitude modulation, or distortion by common fate. These pitches are not necessarily relegated to their registral frequencies, allowing for some octave equivalence. The first section, an exposition of separate elements creating a whole sonority, begins with the accumulation of material in the middle, high, then low register. As events become more synchronized, these three disparate elements become parts of an Eb1 sonority through additive synthesis. After a brief transitional section of aggregate sonorities in a symmetrical rhythm, the fundamental switches to G1 as a pizzicato cloud texture replaces the higher overtones. The additive G1 sonority occurs repeatedly, getting more frequent towards the end of the section. Using common overtones, overtones of the G1 sonority are sustained and the harmony is displaced by Eb1. The second section is a discovery of separate elements that exist within a sound complex, and subsequently, the germinal existences of those elements. The effect of parsing the lower pitches into imagined component pitches is the destabilization of a steady fundamental. The implied fundamentals instead fade in and out of perceivable space, creating a sonic environment of quasi-periodic harmonicity. The section begins by changing the Eb1 to a virtual Bb0 fundamental through a series of common overtones. The sustained Bb0 overtones are rhythmicized, becoming melodic fragments of varying lengths. After the surface texture of the Bb0 climaxes, the orchestration is reduced three times to solos and duets, revealing the melodies that exist in each registral area (high, middle, low). A brief transitional section of aggregate sonorities in a rhythm similar to the transitional area in section one, the implied fundamental becomes a D-1. The melodic fragments are extended through sparer orchestration, with soloists and small chamber combinations developing the ideas. The section ends with an implied C1 fundamental. The final section is the destabilization of the quasi-periodic harmonicity of the second section. The section begins in the highest register on string harmonics that do not imply any particular fundamental. The overtones are textured, and interjections of shepherd tones and noise elements add to an active surface with an unmoored harmonic space. When the surface reaches a maximally undefined pitch space, the gesture of the completed added sonority from the first section returns, implying fundamentals of five different sonorities, moving progressively away from harmonicity. A superimposition of the solo and chamber melodies against segments of previous aggregate transitions leads the harmonic space to a C2 fundamental, played in the gesture of the completed added sonority from the first section. By holding shared common tones, the harmonic space changes to an E1 fundamental, and pitches get higher and quieter until the piece ends.

Helen Pleydell-Bouverie, the Countess of Radnor, who conducted an amateur ladies' orchestra from 1881 until 1896, was a critical early pioneer in the development of female orchestral performance in England. Lady Radnor's orchestra was widely praised, and she herself was highly regarded by British royalty, artistic elite, and lower-class audiences alike. While her probable status as the first British woman to regularly and publicly conduct an orchestra merits recognition on its own, her work is of yet further interest as an important step in the advancement of women musicians from the salon to the professional concert hall. In a time when professional musicianship was not accessible to upper-class women, Lady Radnor became a significant influence in musical culture through patronage, pedagogy, entrepreneurship, and especially philanthropy. Indeed, charitable activity was the main structure that enabled aristocratic women to have public performance careers. Her example shows that the professional female conductors who emerged in the twentieth century were not rogue anomalies, but rather built upon the cultural foundation laid in part by the work of aristocratic amateurs.

Thesis (M. Ed.)--University of Hong Kong, 2006. / Title proper from title frame. Also available in printed format.