With Hecate Nocturne, I set out to create a unified piece of substantial length. The piece features certain sounds of British Columbia---birds, animals, wind, water, machinery, and folksong; their musical depictions represent a growing interest of mine, one which was expanded significantly in this piece. / The primary goal of the thesis is a close interconnection of all musical material, at all levels; that a limited pool of material could produce, through motivic development, all the components of the piece, from small to large. The secondary goal is to give the music a "sense of place" through depictions of natural sounds occurring---in this case---in British Columbia. The tertiary goal is to write musical returns, or recapitulations, that are always significantly altered from their original presentations, to give the piece a feeling of consequence or alteration. This last goal arises from the aesthetic application of some of the composer's philosophical beliefs.

The Last Seven Words is an orchestral piece with double woodwind, double brass, and two sets of timpani. The duration of the work is seventeen minutes. The forty-six pages which precede the musical score present a discussion and an analysis of the composition. The purpose of this project was to provide the composer an opportunity to write an orchestra piece with a single scale and seven rhythmic patterns.

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Thesis (Ph. D.)--University of California, San Diego, 2001. / Vita. Commentary on and analysis of the music precedes scores.

Thesis (Ph. D.)--University of Texas at Austin, 2002. / Vita. Includes bibliographical references. Available also from UMI Company.

The compact orchestra: Using piano transcriptions in 2nd bassoon audition preparation -- Violin Concerto in D major; Symphony no. 3 in F major, op. 90 / Johannes Brahms -- Overture to Tannhauser / Richard Wagner -- Overture to I vespri siciliani / Giuseppi Verdi -- Symphony no. 6 in B minor, op. 74 / Pyotr Tchaikovsky -- Symphony fantastique / Hector Berlioz. / text

Symphony no. 100 in G "Military" / Franz Joseph Haydn -- Appalachian spring / Aaron Copland -- The firebird, 1919 suite / Igor Stravinsky. / text

Aerial Acrobatics is a musical composition for full orchestra consisting of three movements entitled: "Spinning," "Arabesques," and "Scherzo for Trapeze." The material is derived from the composer's experience as a dance accompanist and has been developed into a musical work intended to evoke images of dance movement in many genres including modern dance, ballet, and acrobatics. Aerial Acrobatics is intended for concert performance but suggests to the audience imaginary choreography involving a circus of performing artists vying for the center ring.