Rhapsody for Saxophone and Orchestra is a work of 15 minutes duration, scored for solo alto saxophone, flute (doubling piccolo), oboe, clarinet, bassoon, horn, timpani, percussion, piano, and strings. Within the work, an invented harmonic structure is combined with a freely improvised melody that is subjected to a large-scale formal process of phrase expansion and contraction. Layers of musical activity, involving interval templates (defined as invariant patterns of pitches), phrase-lengths, melodic contour, referential rhytlimic gestures, and pedal-notes are set in motion from the outset. While operating independently, these musical elements converge at major section points in the work, of which there are ten. The ultimate aim is to devise engrossing musical textures that embody variation within coherence, and possess strong goal-directionality. The method of composing with interval pairs represents a novel approach to harmony, and the resulting harmonic structures underlie much, but not all of the work. In terms of melody, the predominantly step-wise and back-circling (melody which moves away from then back towards a central tone) character is also of great significance in the work, providing the basis for much canonic imitation. The commencement of a new section in the work is often marked by two gestures: a treble pedal figure, and a "bouncing" figure, which occur in the first and last quarters of the work. Examination of larger-scale structures designated as "super-sections" (each comprising three or four sections) reveals the systematic phrase expansion and contraction that juxtaposes sections with short phrases next to those with long ones. This expansion and contraction of phrases creates the ultimate structure of the work.

Rhapsody for Saxophone and Orchestra is a work of 15 minutes duration, scored for solo alto saxophone, flute (doubling piccolo), oboe, clarinet, bassoon, horn, timpani, percussion, piano, and strings. Within the work, an invented harmonic structure is combined with a freely improvised melody that is subjected to a large-scale formal process of phrase expansion and contraction. Layers of musical activity, involving interval templates (defined as invariant patterns of pitches), phrase-lengths, melodic contour, referential rhytlimic gestures, and pedal-notes are set in motion from the outset. While operating independently, these musical elements converge at major section points in the work, of which there are ten. The ultimate aim is to devise engrossing musical textures that embody variation within coherence, and possess strong goal-directionality. The method of composing with interval pairs represents a novel approach to harmony, and the resulting harmonic structures underlie much, but not all of the work. In terms of melody, the predominantly step-wise and back-circling (melody which moves away from then back towards a central tone) character is also of great significance in the work, providing the basis for much canonic imitation. The commencement of a new section in the work is often marked by two gestures: a treble pedal figure, and a "bouncing" figure, which occur in the first and last quarters of the work. Examination of larger-scale structures designated as "super-sections" (each comprising three or four sections) reveals the systematic phrase expansion and contraction that juxtaposes sections with short phrases next to those with long ones. This expansion and contraction of phrases creates the ultimate structure of the work. / Arts, Faculty of / Music, School of / Graduate

Title page, table of contents and abstract; v.2: table of contents; v.3: table of contents only. The complete thesis in print form is available from the University of Adelaide Library. / This doctoral submission comprises three volumes and is entitled Twistonality: A Personal Exploration. Volume One consists of a portfolio of eleven original compositions, Volume Two is an exegesis and Volume Three contains live and/or computer-generated recordings of the music. The works are scored for a variety of instrumental and vocal combinations. The compositions explore the use of tonality as a basis for the creation of a uniquely personal style which incorporates musical gestures encountered in both traditional and contemporary performance practice. The term 'twistonality', devised for this submission, refers to a musical language in which a composer may express original ideas by twisting forms and tonal structures already resident in the conscious or subconscious memory in order to reflect his or her emotional reality as experienced through music. / http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1283916 / Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2007

Title page, table of contents and abstract; v.2: table of contents; v.3: table of contents only. The complete thesis in print form is available from the University of Adelaide Library. / This doctoral submission comprises three volumes and is entitled Twistonality: A Personal Exploration. Volume One consists of a portfolio of eleven original compositions, Volume Two is an exegesis and Volume Three contains live and/or computer-generated recordings of the music. The works are scored for a variety of instrumental and vocal combinations. The compositions explore the use of tonality as a basis for the creation of a uniquely personal style which incorporates musical gestures encountered in both traditional and contemporary performance practice. The term 'twistonality', devised for this submission, refers to a musical language in which a composer may express original ideas by twisting forms and tonal structures already resident in the conscious or subconscious memory in order to reflect his or her emotional reality as experienced through music. / http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1283916 / Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2007

Title page, table of contents and abstract; v.2: table of contents; v.3: table of contents only. The complete thesis in print form is available from the University of Adelaide Library. / This doctoral submission comprises three volumes and is entitled Twistonality: A Personal Exploration. Volume One consists of a portfolio of eleven original compositions, Volume Two is an exegesis and Volume Three contains live and/or computer-generated recordings of the music. The works are scored for a variety of instrumental and vocal combinations. The compositions explore the use of tonality as a basis for the creation of a uniquely personal style which incorporates musical gestures encountered in both traditional and contemporary performance practice. The term 'twistonality', devised for this submission, refers to a musical language in which a composer may express original ideas by twisting forms and tonal structures already resident in the conscious or subconscious memory in order to reflect his or her emotional reality as experienced through music. / http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1283916 / Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2007