Thesis (Ed.D.)--Teachers College, Columbia University, 1969. / Typescript; issued also on microfiche. Dissertation Committee: Charles Walton, Frank D'Andrea. Includes bibliographical references.

Thesis (Ph. D.--Music)--University of California, San Diego, 1997. / Vita. For 6 marimbas, 3 vibraphones, and 3 tubular bells. Includes instructions for performance in English.

D.M.A. final project--Department of Music, Stanford University, 2008. / Includes performance instructions (p. 16-18). "This piece will employ novel notation and scoring techniques using custom-designed software for animated notation, real-time composition and performance based interactivity."--p. iv. Accompanying CD-ROM contains computer-animated software. Includes bibliographical references (p. 20).

No description available.

Ee is a single movement composition for eight sopranos (who also play handbells), a percussion ensemble consisting of eight players, and piano. The work is organized into two sections, the first of which presents the basic material and explores the possibilities it suggests. The second represents a disintegration of the material, eventual synthesis, and assertion of the original material. The piece is conceived as a minimalist composition in which the musical energy and momentum is created not through development, but rather through devices of additive layering of ostinato patterns. The piece intentionally juxtaposes a conservative harmonic vocabulary with a non-traditional orchestration (voices, handbells, and percussion). / School of Music

Thesis (D. Mus. Arts)--University of Washington, 1999.

Thesis (Ph. D.)--Ohio State University, 2006. / Title from first page of PDF file. Includes bibliographical references (p. 115-117).

...then time killed the wind... is an original musical composition scored for percussion quartet and electronics with a duration of fourteen minutes. This work explores metaphorical relationships between biological processes and musical processes. The primary constructive element in the work is a rhythmic language based upon the assignment of rhythmic cells to genetic sequences. Furthermore, biological models such as inverted repeats, zeitgeber, 2-D representations of DNA and cross-breeding were applied to musical parameters such as form, pitch, harmony and live electronics.

No description available.

Thesis (D.M.A.)--University of Oklahoma, 2000. / Includes bibliographical references (leaves 66-70).