Thesis (D.M.A.)--University of Iowa, 2008. / Thesis supervisor: Kenneth Tse. Includes performance editions of : Sonata for E♭ alto saxophone and piano / Dulcie Holland (leaves 74-94) ; Sonata for saxophone & pianoforte / William Lovelock (leaves 95-131) ; Sonata for alto saxophone and piano / Margaret Sutherland (leaves 132-153). Includes bibliographical references (leaves 154-155).

Thesis (M.A.)--University of California, San Diego, 2008. / Accompanying disc is DVD-ROM, and includes sound files for 2nd and 3rd compositions. The 1st work for flute and violin, 2nd for 15 instruments, 3rd for tenor saxophone and piano. Title from first page of PDF file (viewed June 25, 2008). Available via ProQuest Digital Dissertations. Durations: ca. 14:00, ca. 15:00, ca. 15:00.

Thesis (D.M.A.)--University of Texas at Austin, 1998. / Vita. Includes bibliographical references (leaves 86-87). Available also in a digital version from Dissertation Abstracts.

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.