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... myriad carbon, myriad silicon ... is inspired by the ubiquitous presence of carbon and silicon, elements fundamental to both nature and technology. These elements, interwoven into our daily lives, are manifest in the natural world around us, in the technology we use, and within ourselves. This piece delves into the intersection of the natural and technological realms, fostering a dialogue that extends beyond grand narratives. It focuses on the everyday interactions between nature’s organic creations and human-made technology. The music reflects this interplay, fluidly transitioning between organic and mechanical sounds, thus embodying the dualistic nature of our environment. However, the essence of the piece goes beyond a simple dichotomy of nature versus technology, exploring the subtleties of contemporary composition. The piece unfolds as a process, revealing layers of complexity and subtlety, without making any definitive statements.

Sinfonia Concertante is a name for an eighteenth-century composition as well as a name of an eighteenth-century instrumental form that was modeled after the earlier concerto grosso. It may be defined as a composition for two or more solo instruments with orchestral accompaniment and written in a style that admits the brilliant display of skill on the soloists' part. It is also thought that the form is nearer that of the symphony than that of the concerto. This thesis discusses the many different influences that resulted in the instrumental form of the sinfonia concertante as well as analyzes specific sinfonia concertanti of Bach, Haydn, Karl Stamitz, and Mozart.

Capriccio -- Rhapsody -- The Miliky way. / Li Cheong. / Thesis (M.Mus.)--Chinese University of Hong Kong, 2004. / Abstracts in English and Chinese. / Capriccio (for four percussion players) --- p.1 / Rhapsody (for string quartet) --- p.16 / The Milky Way (for orchestra) --- p.31

Flame -- Night poem II -- Peach-blossom spring. / Wong Hok-yeung, Alfred. / Thesis submitted in: December 2002. / Thesis (M.Mus.)--Chinese University of Hong Kong, 2003. / Abstracts in English and Chinese. / Composition / Chapter 1. --- Flame 《焰》 -for Organ Solo / Chapter 2. --- Night Poem II 《夜詩 II》》 -for Cello and Chinese Ensemble / Chapter 3. --- Peach-Blossom Spring 《桃花源記》 -for Bass and Orchestra

Symphony I -- Moments -- Three Chinese poems for mixed choir. / Tam Chin Fai. / Thesis (M.Mus.)--Chinese University of Hong Kong, 2004. / Includes bibliographical references (leaves 96). / Abstracts in English and Chinese. / Instrument List of SYMPHONY I --- p.iii / SYMPHONY I (2002-2003) --- p.1 / MOMENTS (2003) --- p.56 / THREE CHINESE POEMS for Mixed Choir (2004) / Chapter I. --- Chou Nu Er - Shu Bo Shan Dao Zhong Bi by Xin Qi-ji --- p.75 / Chapter II. --- Deng Le You Yuan by Li Shang-yin --- p.81 / Chapter III. --- You Zi Yin by Meng Jiao --- p.88 / Pronunciation and Translations of THREE CHINESE POEMS for Mixed Choir --- p.94 / Bibliography of the Translations of THREE CHINESE POEMS for Mixed Choir --- p.96

Preludio -- Fancy -- Allegretto -- Country dance -- Scherzo and Trio -- Epilogue. / Wu Kiu Lap. / Thesis (M.Mus.)--Chinese University of Hong Kong, 2005. / Abstracts in English and Chinese. / Chapter I --- Suite for Solo Violin --- p.Page 2 / Chapter II --- "Humoresque for Woodwind Quintet, Pianoforte and Strings " --- p.Page 6 / Chapter III --- Andante Pesante --- p.Page 8

In this paper the compositional issues and techniques employed in my D.Mus. Thesis Composition Noite dos Tambores Silenciosos (for symphony orchestra) are discussed. The piece, constituted of three linked parts, exhibits a counterpoint of three distinct kinds of music as the main vehicle of the musical discourse. / Two of these musics are connected with Maracatu de Baque Virado and Maracatu Rural, popular musical manifestations found in Pernambuco, a state in northeast Brazil. In a "defragmentation" process, reference materials from the Maracatus are abstractly fragmented and reconstructed according to a technique I call Zin-Zout, implementing in the music a continuous state of transformation, back and forth between micro and macro dimensions. The third kind of music, free of folk references, follows a transformational process built up according to a "palimpsest" technique. In this transformation the hierarchy of the musical parameters changes along with the units of the musical content. / These procedures involve not only pitch and rhythm, but also other parameters like timbre, density and register in a structural way, as building elements of the content and form of the work. / The defragmentation process establishes some predetermined compositional paths, but permits micro- and macro-level decisions based on intuitive considerations, especially in the manipulation of orchestration and micro rhythms. More systematic, the organization of pitch involves a limited serialism and a variety of modal treatment.

Sets and the Senses is a work for symphony orchestra that bears the interaction between science and art as its overriding theme. Formalizations of compositional parameters that relate to this interaction are established, in particular those relating to the contrast between systematic and intuitively composed music, in order to provide a vehicle for musical communication on the theme. A summary of scientific and artistic elements of the compositional process reveals in the work an ingrained hierarchy of science/art interactions. Specific strategies for manipulating the science/art parameters are described. Genetic algorithms as applied to computer-assisted composition are discussed. The formal design of the work is described in terms of the relationship between science and art, accompanied by descriptions of systematic and intuitive musical procedures used.