Twin Oaks: A Comic Opera in One Act is a chamber opera approximately 60 minutes in length. Its accompanying ensemble is scored for flute (doubling piccolo), oboe (doubling English horn), B-flat clarinet, bass clarinet, bassoon, trumpet (in C and B-flat), F horn, percussion, piano, 2 violins, viola, violoncello and double bass. It is a Number Opera with 10 numbers. There is a single case in which there is music played under the dialogue. The text is based off the W.S. Gilbert Play: Eyes and No Eyes: or The Art of Seeing.

This is a quartet in three movements: allegro ben marcato (free form); adagio appasionato (passacaglia); and presto (scherzo). These three movements comprise an arch-form, the first and third being similar stylistically and thematically, the second forming the "pillar".

This quartet is comprised of two wind instruments, flute and clarinet, and two stringed instruments, violin and violoncello. This unusual combination affords a wide variety of colors in both melody and chord-voicing that are impossible with an "unmixed" quartet.

The Wind Was There is a setting for soprano voice and orchestra of two poems by Bravig Imbs (1904-46). Imbs was an American writer active in France for most of his career. He was also a violinist and amateur composer. The piece is in two movements, with a total duration of approximately twenty-five minutes. Each movement represents a different stylistic approach to the musical material. Movement one represents the spirit, though not the harmonic language, of the early twentieth century. The second movement shows the influence of Lutoslawski and Lugeti. This eclectic approach was chosen due to the quite different moods imparted to me by the two poems.The relationship between the soprano and the orchestra is not one between soloist and accompaniment, but is more in the nature of a symphonic dialogue.

the problem was to take a group of poems from a work entitled The Dark Land, by Kathleen Tankersley Young, and set them to music in such a manner as to produce a unified, artistic, whole, A string quartet was chosen as an accompanying group because of a desire to produce a work comparable in scope and seriousness of content to a piece of chamber music.

The Serenade for Viola and Orchestra is a one-movement composition of three connecting sections with two main themes of contrasting character. The "relatedness" of the sections does not depend on common thematic material, but rather on a system whereby motives evolve out of the thematic material and from elements in preceding sections. The sonorous timbre of the viola is exploited and becomes the central tessitura for the piece. The title is representative of the lyrical nature of the composition as a whole, especially the first and third section.

The composition is in four movements and requires approximately fifteen minutes for performance. Characteristic features of the work include fugal imitation, modified arch form, sound mass and special brass effects, and quintal harmony in each movement, respectively. The purpose of the composition is to expand literature for brass choir and prepared tape.

The compositional goals strived for in this work are (1) to unify the past and present, (2) to present a rhythmically simple but harmonically complex use of the voices, (3) to explore the timbral complexities of voices and instruments, (4) to explore rhythmic changes without changing meters, (5) to integrate the orchestra and chorus so as to produce one musical entity rather than two opposing groups, (6) to produce a work that is both practicable in performance and contemporary in spirit.

Te Deum is a concert work for orchestra (woodwinds in pairs plus contrabassoon, four horns, two trumpets, two trombones, tuba, percussion, and strings) and a large mixed chorus. The text is derived from The Book of Common Prayer of the Church of England. In the interest of intelligibility, the text setting is mostly syllabic. The single through-composed movement, lasting about eleven minutes, is divided into three principal sections. Section two contains the primary climax of the work. The basic musical material of the piece is a set of motives which are altered and combined in various ways.

This quartet shows the composer's development from a highly chromatic, freely melodic, un-serialized style in movement I, through a still free, but disjunct, somewhat more ordered style in movement II, to a style in movement III which makes much use of serial techniques. This last usage, however, no longer employs the twelve-tone method in a stiff and fettered manner.