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Sinfonietta is a work of about 18 minutes for orchestra with an instrumentation of 3 flutes, 2 oboes, 3 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, 4 timpani, percussion, harps, piano and strings. Three players are required for the percussion battery. The work is in four movements: Prelude, Theme and Variations, Largo and Finale. Movement I is in a tri-partite design. In the second movement, the theme is first enunciated by a solo violoncello in its high register followed by seven variations in the orchestra. In Movement III, there are three brief sections plus a longer coda which links to the Finale, the last movement of the Sinfonietta. This movement ends the work with a double fugal section where many of the important features used in the work recur. The movements are made coherent by means of cyclic treatment of the material.

Tiempos del caos is a composition in five sections for chamber orchestra (28 players) and real-time computer-generated sounds, with a duration of approximately 15 minutes. A performer is required to control the computer-generated sounds which are produced using the software jMax. The inspiration for the form of the piece comes from my reading of the novel One Hundred Years of Solitude by Gabriel Garcia Marquez. The harmonic material is derived mainly from analyses of the acoustical properties of recorded instrumental sounds.

Thesis (Ph. D.)--University of California, San Diego, 2009. / First work for large ensemble; 2nd for violin and electronics. Title from first page of PDF file (viewed July 7, 2009). Available via ProQuest Digital Dissertations. Vita. Accompanied by disc containing PDF file of thesis and recordings of performances of works.

Thesis (M.Mus.)-University of KwaZulu-Natal, Durban, 2008.

Thesis (M.M.)--Bowling Green State University, 2010. / Document formatted into pages; contains 1 score (33 p.) For flute, oboe, clarinet in B♭, bassoon, horn in F, piano and strings. Duration: 11 min. Includes bibliographical references.

Temporal Distortions is 18-20 minutes in length and is written for an orchestra including 2 flutes (2nd flute doubling on piccolo), 2 oboes, 2 Bb clarinets, 2 bassoons, 2 horns, 2 trumpets, 2 trombones, timpani, 3 percussionists playing tri-toms, vibraphone, snare/tenor drum, medium suspended cymbal, Glockenspiel, bass drum, and large tam-tam; and multiple string parts for violin I a & b, violin II a & b, viola a & b, cello and double bass. Temporal Distortions was inspired by the theoretical concept of "wormholes" in space, where matter is warped through distorted passages connecting distant and diverse parts of the universe. The work is in three sections, connected without break. The first section, Space, emerges as a wide, expansive musical area where themes and gestures are freely presented. Gradually, these materials come into phase with one another, building to a climax. A transition follows, leading into the middle section, Wormholes, where the materials are frequently and suddenly transformed into other temporal elements. The third section, Comets, was inspired by the collision of the comet Shoemaker-Levy 9 with the planet Jupiter in July of 1993. Driving, underlying rhythms propel the thematic material through a series of statements which split into more and more substatements. This leads into a turbulent, explosive section and a final wormhole which returns to the opening material. Five basic temporal elements -- sustaining, aligned/non-repeating, aligned/repeating, non-aligned/repeating, and non-aligned/non-repeating -- are derived and demonstrated. Relationships between these elements are examined, and basic transformations are discussed. These elements serve as the basis for a theory of temporal analysis applicable to both metered and non-metered music. Chapter I presents this theory, and Chapter II discusses its application as a compositional method in Temporal Distortions.

Orcas is a two-movement work for chamber orchestra embodying traditional forms with twentieth-century timbres, textures and rhythms/ It is scored for twenty-two strings, six woodwinds, three brass and one percussionist. The purpose of this work is to make a contribution to the chamber orchestra literature which employs both traditional and contemporary elements, textures and styles.

Kami is a two-movement composition for chamber orchestra. It is scored for two flutes; two Bb clarinets; bassoon; two F horns; Bb trumpet; bass trombone; a percussion section consisting of two performers alternating on triangle, suspended cymbal, three toms (low, medium, high), two timpani, and xylophone; piano; harp; and strings. The movements are approximately five and six minutes in duration, respectively, with a total duration of approximately eleven minutes. The title, Kami, is taken from the Japanese word for "god," and is meant to convey a sense of otherworldliness. This piece is intended as a fantasy for chamber orchestra, merging eastern and western musical influences.

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