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 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.

...for the time is at hand : An Original Musical Composition, for orchestra and tape, is a single movement work in five overlapping sections with a total duration of approximately twenty minutes. Using a stochastic composition program written in Hewlett-Packard BASIC, the final chord of Stravinsky's Le Sacre du Printemps serves as a "seed" to generate the "pitch density" (vertical pitch distribution), "timbre density"(vertical instrument distribution), and dynamics of the work.

Bay Psalmes-1640 is a large work in four movements for orchestra and chorus. The chorus employed is SATB but each of the four sections may be divided into firsts and seconds as required. The orchestra is a standard symphony orchestra consisting of woodwinds in threes, brass of four horns, three trumpets, three trombones, tuba, percussion including orchestral bells, timpani, snare drum, bass drum, triangle, cymbals and suspended cymbal. Special instruments include the harp and the celesta. The orchestra is completed by the usual complement of strings.

The first movement of the present work is a French overture patterned in form after the overtures of Jean Baptiste Lully. The second movement (Lento) is a simple ABA song-form and presents a rather rhapsodic development of its theme. The third movement consists of a set of six continuous variations on the polyphonic chanson Revecy venu du printans by Claude le Jeune (1528-1600). The last movement is a rondo (ABACADA).

Symphony No. 1 is a three-movement work for orchestra. The movements have the following tempo indications: (I) Allegro ma non troppo, (II) Lento, and (III) Allegro giocoso. The composition is scored for 3 flutes (3rd flute interchangeable with piccolo), 2 oboes, 2 clarinets in B-flat, bass clarinet in B-flat, 2 bassoons, contra-bassoon, 4 horns in F, 3 trumpets in B-flat, 2 tenor trombones, bass trombone, tuba, percussion (timpani, snare drum, and triangle), and the usual complement of strings.