This portfolio presents seven compositions composed for different instrumental and vocal forces, accompanied by a commentary and recordings of some of these works. Across the seven pieces there has been a concern with building longer-term structures; establishing a stronger developmental style; and with moving towards a more systematised approach to harmony as a way of creating a harmonic language that can underpin development more efficiently.  Several of the works show a direct engagement with the issue of form, which is approached from the perspective of Classical models, the listener’s perception and in the context of a highly chromatic harmonic language.  In contrast, two works (<i>Aubade</i> and <i>So Turn Your Heart</i>) engage more directly with diatonic models of harmony. The dominant concern across all the works presented has been the desire to create developmental, direct music in which the notion of transformation, rather than stasis and ritual, are of paramount importance.  From a melodic, harmonic and structural point of view each work represents different ways in which this has been attempted. The commentary that accompanies the works explores many of these ideas in more detail as well as setting out the origins and development of each composition. There is also an explanation as to how the initial material was decided upon and utilised during the compositional process. The commentary then concludes with a summary of what has been achieved over the course of the programme and where this might lead in the future.

Title from accompanying document. / B. Rohrer, saxophone ; F. Proctor, piano and organ ; R. Muse, piano ; C. Miller, piano ; S. Finck, marimba ; F. Sidorfsky, clarinet ; D. Bakke, violin. / Digitized by Kansas Correctional Industries

Winter Landscape is an interactive composition for erhu (Chinese two-stringed fiddle), flute, piano, and Max/MSP interactive computer music system. The total duration of the piece is approximately 15 minutes. Winter Landscape serves to demonstrate one particular approach to exploring the possibilities afforded in an interactive paradigm within a cross-cultural context. The work is intended to convey my personality and identity as a contemporary Chinese composer through diverse cultural and musical influences drawn to this particular piece while creating a balance between traditional and modern sounds. The influences of Chinese philosophy (especially Chán) and the essence of Chinese traditional music play a prominent role as demonstrated in the formation of structures, expressions, and concept of Yun in the work; these influences also play a great role in determining the instrumentation and basic pitch structures of the work. However, this work is equally influenced by techniques and practices of modern Western classical music. These diverse influences hopefully have resulted in a unique work that truly does represent a cross-synthesis of these varying influences. In Winter Landscape, the interaction that takes place between the computer and the live musician is intended to reveal the responsive human/machine relationships. The computer constantly shifts its roles as a musical instrument, conductor, performer, and improviser to facilitate the sonic realization of the solemn, nebulous, and peaceful nature of Chán philosophy, thus exploring the cultural and musical potentials; meanwhile, the design of algorithmic structures simulate the modeling of human performance, enabling the computer with intellectual ability and musical expressivity as a decision-maker, resembling its counterpart-the live performer.

Symphony no. 2 : towards a harmonious world. I. Molto sostenuto. II. Con alcuna licenza. III. Con fuoco -- Sunrise : for orchestra -- Epilogue for a tragedy : for flute, violin, cello and piano. I. Molto mesto. II. Molto pesante : quasi tarantella : tranquillo -- Ally : for clarinet, violin and cello -- Cosmo palladium : for flute and Max/MSP. / Hung Ming-kin Christopher. / Thesis (M.Mus.)--Chinese University of Hong Kong, 2006. / Abstracts in English and Chinese. / Symphony No.2 Towards a Harmonious World / Chapter I. --- Molto sostenuto --- p.5 / Chapter II. --- Con alcuna licenza --- p.36 / Chapter III. --- Con fuoco --- p.45 / Sunrise for orchestra --- p.84 / "Epilogue for a Tragedy for flute, violin, cello and piano" / Chapter I. --- Molto mesto --- p.101 / Chapter II. --- Molto pesante- quasi tarantella -tranquillo --- p.106 / "Ally for clarinet, violin and cello " --- p.115 / Cosmos Palladium for flute and Max/MSP --- p.125

Inspired by Chinese poems, the overall characteristics of the work reflect the assimilation of several non-Western musical and philosophical influences such as the use of pentatonic scale patterns, the principle of embellishing a single note, and the application of the I-Ching in dealing with active instrumental passages over a long-sustained computer music drone. Traditional Western compositional techniques such as aleatory counterpoint, serialism, and moment form are also employed in the treatment of thematic material, developmental processes and formal design.

Twelve-tone music illustrates many characteristics relative with those of conventional tonal form, though works are based on a different composition method. The fundamental question of twelve-tone music arises in debate on terminology between tonal and atonal as well as methodology of musical analysis. Certain theorists try to approach twelve-tone music by traditional harmonic views rather than by pitch-class set theory. Conventional harmonic aspects arise from the fact that both tonal and twelve-tone music share similar narrative strategies. This point is explored in examining Anton Webern's Quartet for Violin, Clarinet, Tenor-Saxophone and Piano, Op. 22, which displays connection to tonal music. The present study seeks to examine certain features of the composer's working in pitch materials; i.e., the dispositions of pitch classes and the characteristics of the matching dyads, and thereby to disclose the connection between twelve-tone methods and conventional harmony.

Thesis (D.M.A.)--University of Maryland, College Park, 2007. / Compact discs.