1 score (xvii, 233 p.) / Throughout history, wondrous discoveries of science, like great pieces of music, have often come about through extraordinary feats of creativity, informed by deep rational thought yet not limited by it. Like science, music composition requires a mastery of its own technical features (instrumentation, orchestration, harmony, counterpoint, etc.), but neither music nor science can flourish when too much emphasis is placed upon the mechanical and not enough on the imagination. Composers have sometimes turned to mathematics as a tool for generating art though the systematization of musical elements. However, music often suffers from the conscious attempt by composers to bring it closer to the world of science and math through the serialization of musical material. This does not mean that mathematics and science do not play an important part in music of great expression. To be sure, composers have used simple mathematical concepts to discuss, analyze, and create music at every stage, whether consciously or unconsciously, since the beginning of Western music. These ideas are at the very heart of the great music of previous centuries, even if we celebrate those works more for their intrinsic beauty than their rational mechanics. It is the inventiveness and creativity that we find easy to value in music, but the science behind it also makes its creation possible. My symphony pays tribute to the marriage of creativity, not process, in scientific and musical thought, using the words of scientists and mathematicians as poetic texts, which generate musical imagery. I have chosen a series of quotations by notable scientists and mathematicians throughout history, which serve as textual introductions for each movement of the six-movement, approximately forty-five minute orchestral symphony. Each quotation makes reference to a specific scientific or mathematical discovery of its writer, or displays an aspect of his philosophy. The ideas expressed in the quotations serve as abstract inspiration and suggest musical imagery for each respective movement. / Committee in Charge: Dr. Robert Kyr, Chair; Dr. David Crumb; Dr. Jack Boss; Dr. Marilyn Linton

Arda is an instrumental chamber work scored for cello, percussion, and multiple keyboards with a total duration of approximately thirteen minutes. The work is structured in an arch form whose divisions are based on instrumental and textual groupings. The pitch organization utilizes prominent intervals, improvised passages on certain passages on certain pitches, and the double harmonic mode, which is derived from an Indian raga. Various instrumental techniques are also used throughout the work to alter timbres as well as to create more interesting vertical sonorities.

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.

In Symphony No.I, the form of the first movement follows the broad outlines of the sonata. The second movement is in Rondo form, the first section of which has a definite ABA character, the second part has but a single theme extended in treatment, and the third section a recapitulation of the first. The final movement again uses the ABA form.

This composition is a single-movement chamber work and has a total duration of approximately fourteen and one-half minutes. The instrumentation of the piece includes two Eb alto saxophones, two Bb tenor saxophones, two Bb trumpets, tenor trombone, bass trombone, four narrators, piano, double bass, trap set, triangle and chimes. The entire work is organized durationally through the use of eight simultaneous, independent click tracks. This information provides the tempos and is sent to the performers via headphones.

This symphony is a representation of the composer's philosophy of life, which includes a belief in a pre-existent life (Beginnings), a mortal life (Searchings and Wanderings), and a life after death (Return Home). Three out of four of the cyclic elements in the Symphony are symbolic. Theme one represents the influence for good which emanates from a living God; motive one represents the influence for evil, or the Devil; motive two represents the influence of Christ. All three of these influences were present in the pre-existence, they are present in earth life and in the life after death, where good will ultimately triumph over evil. Motive three is found in both first and third movements, but has no symbolic meaning.

DocumentUS is an original orchestra and choral composition by Stanley Garth Gibb, based on events in American history.

Polymetrics is a one-movement work for symphonic wind ensemble, of approximately 8 minutes' duration. The instrumentation includes thirty woodwinds, thirteen brasses, and ten percussionists. The pitch organization is based on two hexachords that encompass all twelve pitch classes.

Hegira is a work for full orchestra making use of piano as well as an augmented percussion section. The title, taken from Mohammed's flight to Mecca in 622 A.D., did suggest certain directions during the compositional process, but it does not imply a specific program for the music. The compositional process employed many techniques, including thematic transformation, serialization, rotation, contrapuntal textures, as well as the intuitive juxtaposition of material.

The composition consists of two movements: Adagio and Moderato. The first movement is mono-thematic, and is divided into three sections. The second movement offers contrast with the first by establishing an immediate tempo, dynamic, and color change.