Thesis (Ph. D.) -- City University of New York, 1986. / "A dissertation submitted to the Graduate Faculty in Music ... " Includes bibliographical references (leaves 406-416).

Thesis (D.M.A.)--University of Kansas, 1979. / Typescript. Includes bibliographical references (leaves 98-104).

Thesis (M.A.)--University of California, San Diego, 2009. / Available via ProQuest Digital Dissertations. With accompanying disc containing sound files of the thesis recital in 44K stereo. and 96K formats.

Thesis (D.M.A.)--University of Texas at Austin, 2005. / Vita. Includes bibliographical references.

Treatise (D.M.A.) Florida State University, 2007. / Advisor: Eric Ohlsson, Florida State University, College of Music. Title and description from dissertation home page (viewed 7-11-07). Document formatted into pages; contains 85 pages. Includes biographical sketch. Includes bibliographical references.

Treatise (D.M.A.) Florida State University, 2006. / Advisor: Leonard Mastrogiacomo, Florida State University, College of Music. Title and description from dissertation home page (viewed 7-10-07). Document formatted into pages; contains 41 pages. Includes biographical sketch. Includes bibliographical references.

Thesis (D.M.A.)--University of North Carolina at Greensboro, 2007. / Title from PDF title page screen. Advisor: Joseph DiPiazza; submitted to the School of Music. Includes bibliographical references (p. 126-127).

No abstract available. / Dissertation (M Mus (Performing Art))--University of Pretoria, 2007. / Music / unrestricted

This paper explores the compositional method of “temporal plane shifting” used to evoke states of suspended time in two of my compositions, Something Like Your Lagrangian Point (2019), for two pianists and two percussionists, and Nothing Never Always Sometimes Changes (2021) for alto flute/piccolo, tenor saxophone, violin, cello, and piano. Temporal plane shifting involves overlaying musical material of unrelated tempi—what I call “temporal planes”—to create an experience of time that parallels being in two different locations or states at once. I argue that this creates the feeling of “suspended time.” This paper begins with an overarching theory that, because our conceptions of time are bound with our conceptions of motion, states of entrainment are thus felt as locations in space. This argument is then expanded to explain the reasoning behind suspended time as the sensation of being in two locations at once. The rest of the paper uses the aforementioned pieces to explore how temporal planes are composed by way of instrumental juxtaposition, rhythmic juxtaposition, material limitation, and gestural repetition, and ends with a discussion of future considerations for the expansion of temporal plane composition.

No description available.