Thesis (D.M.A.)--University of Texas at Austin, 2006. / Vita. Includes bibliographical references.

Treatise (D.M.A.)--University of Texas at Austin, 2007. / Orchestral work incorporating the tune Ey Iran; the work is a commentary on the United States coup in Iran in 1953. Vita. Includes bibliographical references.

Thesis (M.M.)--Baylor University, 2006.

Thesis (D.M.A..)--Ohio State University, 2003. / Includes bibliographical references. Available online via OhioLINK's ETD Center

Thesis (M.A.)--Boston University / Because of the late eighteenth century's developments in the art of orchestration, many music teachers became increasingly concerned with how to instruct their students in this subject. They turned to the instrumental tutors which were quite popular at the turn of the century, and found nothing that discussed timbre or how to combine instruments effectively. In response to a plea for written instruction about orchestration itself, several books that addressed that topic began to appear at the end of the eighteenth century. Within the first four decades of the nineteenth century several orchestration treatises were available. The works of Sundelin, GaBner, Kastner, Berlioz and others supplied information about orchestration as well as common practices of the time. Sundlelin's Die Instrumentierung fur Militar Musik (1828) was perhaps the first to discuss the newly invented valve instruments, and it is likely that Die lnstrumentierung fur das Orchester (1828) was the first treatise to comment on instrumental combinations. These works represented the transition between instrumental tutors and orchestration books as we know them today. [TRUNCATED]

This thesis consists of an original composition and an analysis of it. Scored for a small orchestra, the Camerata is approximately 16 minutes in length. The analysis deals with general matters of structure as well as details of harmonic organization that play a specific and prominent role in this work. The piece is to be perceived in four integrated sections. Each section has its own characteristics. However, the sequence from one section to another is functional, so that the piece would not work if the sequence of sections were arranged differently. Section B develops the thematic material of section A. Section C is an outgrowth of section B because of the exchange of the dynamic and static aspects pertaining to harmony and melody. Moreover, as a unifying element, these two central sections show tonal tendencies. Section D rounds off the piece with a concealed texturally decreasing formal design, which balances the crescendo and texturally increasing overall shape of the first section. / Arts, Faculty of / Music, School of / Graduate

Trichotomy is a composition in three movements for full orchestra. The title was chosen to imitate the differences that exist between the individual movements of the work. The composers chosen for quotation (Schoenberg, Berg and Webern) are related by their compositional pitch vocabulary; that is, in these quoted works they are all using twelve-tone technique.

Display is a four-movement work for twenty-two instrumentalists, five singers, and a prepared tape. As the title implies, the composition is, in fact, a studied display, of numerous compositional and performance procedures, techniques, and effects. The performers must be of virtuoso caliber, and in some cases will need to know special techniques to produce some of the required effects.

Nightdreams, a single-movement work for orchestra, is approximately nine and one-half minutes in duration. The concept for Nightdreams evolves from sketching three types of sounds as photographs: melodically oriented sounds, sound-mass texture, and vertical sonorities. A twelve-note set is used to construct the pitch content of the melodically oriented sounds. This set includes the intervals of a m2, M2, m6, and T. Sound-mass textures are constructed from the same intervals that are contained in the twelve-note set plus the addition of a m3 and a P5. Vertical sonorities use the linear aspect of the twelve-note set mapped onto a set of twelve different rhythms which alternate between non-retrogradable and retrogradable. Although the piece is contained in a single move-ment, there are twelve sections, each with its own characteristics.

The six Pieces for Orchestra are short twelve-tone compositions . Each piece is an individual entity in itself, but they all stem from the same twelve-tone row. The method of composition with twelve tones evolved through the works of Arnold Schoenberg (1874-1951). It was utilized by his disciples and has won general acceptance by a wide variety of composers.