The two purpose of this paper are to present an abbreviated study of the following three movements for orchestra, and to examine two different aspects of serial techniques used in the first and last movements respectively. Each movement is basically in the same A B A form; each, however, represents an entirely different approach to composition. Of course there are areas common to all three movements (melodic content, fragmentation, orchestration), and it is hoped that a stylistic continuity is maintained.

The purpose of the composition of the "Music for Chamber Band" is the creation of an extended work for an ensemble of solo wind instruments are treated as woodwind and brass quartets, with the percussion section, which requires four players, serving a subordinate function. The "Music for Chamber Band" is in three contrasting but thematically interrelated movements. The first movement, entitled "Lament," is marked "Slowly and simply" and has a mournful character. The second movement is fast and vigorous, frequently utilizing cross accents which give the impression of two or more meters performed simultaneously, and is entitled "Dance". The third movement, "Antiphon," is moderate in tempo and relaxed in nature. The form of the work as a whole can be likened to an arch which contains (or is made up of) three smaller arches.

Four Preludes is a musical setting of Carl Sandburg's poem, "Four Preludes on Playthings of the Wind." The music consists of four movements scored for chorus, soprano solo, baritone solo, and full orchestra. The movements are connected by orchestral interludes between each of the four verses. The total performance time is approximately twelve minutes.

Oscillation for Prepared Electronic Tape and Symphony Orchestra is a multi-sectional one-movement composition with an aleatory section that has been partially serialized. The piece begins with a five-tone motif on tape which is developed by the orchestra as an introduction to Section I. The principal theme is developed by the strings and brought it to a climax. This climax is immediately interpolated by the five-tone motif slightly altered. At this point the thematic material is mutated and the orchestra goes through a harmonic texture change. The quartal harmonic treatment develops a cluster of tones that resolve into other clusters and the process is repeated to the accelerando of Section II.

Three Movements for Woodwind Quintet contains serial technique to a limited degree. The composition is not tonal but is in three distinct sections, the first of which is in ABA' form. The first movement is in a fast tempo with the exception of the second section, which is slightly slower. The meter is 2/4 throughout the entire first movement. The second movement is a slow movement and is in variation form. The third movement starts at a fast tempo and the meters alternate between 2/4, 3/4, 5/8 and others so as to change the stress in certain phrases.

This composition is a two-movement work for orchestra and prepared electronic tape. The second movement preceeded by a solo tape prologue. The work requires approximately twenty-five minutes for performance. One of the purposes for the composition of this work was to explore the possibilities, potentialities, and limitations of combining orchestral resources and taped electronic material.

Music for Katurah is scored for string quartet, flute, alto flute, soprano saxophone, bass clarinet, piano, and two percussion with total duration of approximately nineteen minutes. The work has three movements and uses spatial as well as standard notation. Each movement begins softly, builds gradually to a highpoint, and returns to the soft beginning. Timbral exploration and improvisation are prominent features in this piece. Also, through the use of spatial and standard notation, the piece combines strict rhythms and free rhythms.

The Requiem, for mixed chorus (4 and 8 parts), two brass quartets (2 trumpets, horn and trombone each), timpani (4) and organ, is divided into four sections or movements: I. Introit and Kyrie II. Sanctus III. Pie Jesu IV. "Take Thou Comfort". The principal feature of the Requiem is the cyclic treatment of the two main themes. These will be referred to as the "Introit" theme and the "Kyrie" theme, in that these are the sections in which they first appear, respectively.

The Introduction is in two-part song form two-part song form with the tonality centered around d-minor.

The first movement is probably best catalogued as highly altered sonata-allegro in form. Exposition of the main thematic material is in the form of a fugue. The main thematic germ of this entire work may be found in the first three ascending fourths.