For flute, piano, erhu, and Max/ISP interactive computer music system. Duration: ca. 15:00. System requirements: Adobe Acrobat Reader. Includes notes for performance. Includes bibliographical references (p. 94-96).

Thesis (M. Mus.)--University of Wisconsin--Madison, 1950. / For 2 violins, violoncello, and piano. Holograph.

Thesis (D.M.A.)--University of Wisconsin--Madison, 1994. / Duration: 12:19. Typescript. Includes performance notes. eContent provider-neutral record in process. Description based on print version record.

Thesis (M.M.)--University of Wisconsin--Madison, 1939. / Typescript. eContent provider-neutral record in process. Description based on print version record.

Treatise (D.M.A.) Florida State University, 2006. / Advisor: Melanie Punter, Florida State University, College of Music. Title and description from dissertation home page (viewed 8-22-2007). Document formatted into pages; contains 203 pages. Includes biographical sketch. Includes bibliographical references.

The String Quartet is comprised of three movements: Allegro, Adagio, and Vivace. The Allegro utilizes a monothematic Sonata Allegro form: the Adagio is through-composed, and the Vivace is a Rondo. All three movements feature a lean harmonic texture, much of the harmony resulting from linear movement, i.e. counterpoint.

This is a quartet in three movements: allegro ben marcato (free form); adagio appasionato (passacaglia); and presto (scherzo). These three movements comprise an arch-form, the first and third being similar stylistically and thematically, the second forming the "pillar".

This quartet is comprised of two wind instruments, flute and clarinet, and two stringed instruments, violin and violoncello. This unusual combination affords a wide variety of colors in both melody and chord-voicing that are impossible with an "unmixed" quartet.

This quartet shows the composer's development from a highly chromatic, freely melodic, un-serialized style in movement I, through a still free, but disjunct, somewhat more ordered style in movement II, to a style in movement III which makes much use of serial techniques. This last usage, however, no longer employs the twelve-tone method in a stiff and fettered manner.

Thesis (D.M.A.)--University of Georgia, 2000. / Includes abstract ([1] leaf). Includes bibliographical references (leaves 123-125), composer/title index, and listing by degree of difficulty.