Mile End Believing is a composition for eight woodwinds, four brass, and two percussionists, with a duration of approximately 13$ sp prime40 sp{ prime prime}.$ The inspiration for the piece is a Montreal neighbourhood whose cultural diversity suggested a number of short sections which, although contrasting, are linked by the nature of their relationship to one another. The eight main sections all have the same duration, and some sections are recapitulated towards the end of the work.

Vicissitudes is a composition for orchestra with a duration of approximately 13$ sp prime$ 30$ sp{ prime prime}$. The main idea of the piece, the subdivision of the orchestra into small soloistic groups along with larger ensembles, was inspired by the principles of one of the Baroque forms, namely the Concerto Grosso.

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This project consists of two parts. The first part is a composition for orchestra of approximately thirteen minutes in duration. The second part, an analysis of the work, describes the music in terms of its form, harmony, rhythm and orchestration. / The piece can be considered as a free rondo in the sense that it does not necessarily follow the usual plan of the classical rondo. This particular composition sometimes displays two verses in a row, thus trying to introduce some new ideas into this very old type of musical form. / In terms of harmony, the work deals with two basic categories of chords. First, some chords are designed as to show different ways of combining together the two whole-tone scales. Second, the chords sometimes mimic the behaviour of the harmonic series by using a decreasing sequence of harmonic intervals from the lower register to the upper register. / The rhythms of the piece mainly follow Olivier Messiaen's theory of added durations. / Finally, the orchestration aspect basically shows examples of chords which are held still in a certain number of voices while they are slightly ornamented by other voices in the orchestra. This device has simply been named the technique of "simmering sound".

"Mudra" is the transliteration of a Sanskrit word meaning "symbol" or "gesture". This piece is inspired by the interaction of thoughts, breathing patterns, spontaneous bodily movements and sensations which can occur during the yogic practice of 'pranayam'. The work is written for flute/piccolo, oboe, clarinet, bass clarinet, bassoon, horn, trumpet, trombone, percussion, piano, four violins, two violas, two cellos, and two double basses. / The piece is divided into twelve sections, clearly delineated by changes in harmony, texture, meter, and registration. As the music unfolds, seven rhythmic cells and four fixed-pitch collections provide the basis for rhythmic and harmonic development, or variation. Elements such as solo melodic lines, melodies dynamically doubled at varying intervals, polyrhythm, isorhythm, heterophony, timbral modulation, and metric modulation are used in an attempt to generate a satisfyingly rich musical experience.

The Days of Victory is a piece of music for a chamber orchestra of sixteen players, approximately thirteen minutes in duration. The accompanying analytical essay provides an extensive general description of its systems of pitch organization, and a more specific account of their operation in this piece. These systems function by linking dyads together to create a harmonic language that favours asymmetrical chord formations. Also included is an outline of its form, which uses four contrasting types of sections in recurrence. The essay comments on the stylistic tendencies of the piece in terms of rhythm, texture, and orchestration. This is followed by a brief exploration of the aesthetic implications of the music in relation to its title, which is drawn from a short excerpt of the Koran.

Queezinart---hocket in a blender is a composition for five woodwinds, five brass, percussion (two players), piano, two violins, viola, cello and double bass, with a duration of approximately 14 minutes. There are six main sections in this piece. The work is structured so that musical ideas flow smoothly and gradually between sections. Also, the musical events are organized in such a way that the perceived, experienced time is manipulated and distorted, through varying activity and density of musical events.

Apparent Motions is an original composition for an ensemble of fifteen musicians consisting of percussion, harp, keyboards, and stringed instruments. This dissertation is comprised of the composition as well as a written analysis of the composition. The analysis presents the most important technical features of the piece, including pitch organization, counterpoint, and motivic elaboration. Techniques are related to the overall objectives of the work, which involve the composer's personal approach to musical time. The particular treatment of time in the piece results from the coexistence of linear/developmental organization along with cyclical organization. The cyclical features intentionally interfere with the implication of progress by the linear/developmental features. The work's temporal strategy is analyzed in relation to theories regarding musical time put forward by Jonathan Kramer. 1 The primary conclusion reached is that the piece makes use of Kramer's "multiply-directed linear time." / 1Jonathan Kramer, The Time of Music: New Meanings, New Temporalities, New Listening Strategies (New York: Schirmer, 1988).

This dissertation consists of two parts. Part One is a written text which defines compositional processes and provides an analysis of the musical material incorporated in weight, my composition for orchestra. Part Two of the dissertation comprises the musical score for weight. / weight is a nineteen-minute composition for symphonic orchestra [2222, 4231, piano, percussion (2 players), timpani, strings (16,14,10,10,8)] which attempts to exploit the various allusions conjured up by the title. The term "weight" implies lightness or heaviness which can be applied to various musical elements (e.g., where a chord is "heavier" than the previous, a rhythm is becoming "lighter," etc.). weight is an attempt to remove the subjectivity surrounding the use of this type of terminology by measuring and developing certain musical elements in a logical and elegant manner. / Following an introductory chapter, the written text focuses on three main components. Chapter Two deals with the harmonic component of weight, first, describing how the harmonic language for the composition has been constructed, followed by a detailed explanation of how the harmonies are given numerical "weights," and subsequently how they are manipulated in the composition. Chapter Three defines and numerically calculates subsidiary elements such as rhythm, orchestration, and a formal element identified as temporal splicing. Chapter Four reveals the overall form of weight , and illustrates through a series of sectional analyses how each subsidiary element interacts with one another in each formal region. The fifth chapter concludes the written text, summarizing the paper and considers future uses of the compositional and analytical methods introduced in this paper.