Thesis (M.A.). / Written for the Dept. of Music Research, Schulich School of Music. Title from title page of PDF (viewed 2008/05/13). Score preceded by analysis. Includes bibliographical references.

Thesis--University of Iowa. / Includes bibliographical references.

Thesis (M.A.)--University of Wisconsin--Madison, 1964. / eContent provider-neutral record in process. Description based on print version record. Bibliography: l. 92-93.

System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 20, 2008, Aug. 2, 2008 (missing), Mar. 5, 2009, and June 18, 2009. Includes bibliographical references (p. 71-73).

Thesis (Ph. D.--Music)--University of California, San Diego. / Vita. Includes scores for most of the instrumental works within the composer's The Sexton cycle; excludes opening work, What's that, and the purely tape Redcuts. Accompanying tape includes recordings of the sections, Hutch, The red shoes, Redcuts, and Demon (extract) from Consorting with angels.

Thesis (D. Mus. Arts)--University of Washington, 2006. / Includes bibliographical references (leaves 94-99).

Dissertation (D.M.A.)--The University of North Carolina at Greensboro, 2010. / Directed by Carla LeFevre; submitted to the School of Music. Title from PDF t.p. (viewed Jul. 14, 2010). Includes bibliographical references (p. 29-30).

This dissertation, organized in two parts, is comprised of an essay on my song cycle Perle Noire: Meditations for Josephine and its scores. Perle Noire consists of a flexible musical score that I composed for soprano Julia Bullock, select members of the International Contemporary Ensemble, and myself, with two performance editions. The primary edition, which stems from part of a production conceived of by theater director Peter Sellars, includes recited poetry about Josephine Baker by Claudia Rankine and choreography by Michael Schumacher. The second edition is a musical performance with neither poetic texts nor choreography. The world premiere of Perle Noire took place at the 2016 Ojai Music Festival in California, with subsequent performances at Lincoln Center in New York; Da Camera in Houston, Texas; and the Stony Island Arts Center in Chicago, Illinois. The entire performance of the 90-minute song cycle entails the following five recompositions and one “head arrangement” for a mixed ensemble of improviser-performers and soprano: Part I—1. Bye Bye Blackbird, 2. Sous le Ciel d’Afrique, 3. C’est ca le Vrai Bonheur and Madiana (medley); Part II—4. Si J’etais Blanche, 5. C’est Lui, 6. Terre Seche (Negro Spiritual). The essay centers on the compositions in Part II of Perle Noire: “Si J’etais Blanche,” “C’est Lui,” and “Terre Seche” (Negro Spiritual). To begin, I briefly discuss my aesthetic exigencies in relation to the Black creative musics initiated during the latter part of the twentieth century as well as the inspiration informing the creation of this song cycle. Next, I discuss the aforementioned songs to demonstrate how my aesthetics play out in this work. Finally, I detail the controversial critical reception of the song cycle’s world premiere performance and my response to it.

Winterreise : D. 911 / Franz Schubert. / text

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