Title from accompanying document. / Digitized by Kansas Correctional Industries

D.M.A. final project--Department of Music, Stanford University, 2002. / For solo violin (1st mvmt.), 12 singers with 4-channel tape (2nd mvmt.), and solo bass with live electronics (3rd mvmt.). Words also printed as texts in pref. Includes performance notes and abstract. Sound disc contains 2-channel tape accompaniment for 2nd mvmt.

Thesis (Ed.D.)--Teachers College, Columbia University. / Typescript; issued also on microfilm. Sponsor: Harry R. Wilson. Dissertation Committee: Frederick D. Mayer, Charles W. Walton, . Includes bibliographical references.

Thesis (D.M.A.)--Conservatory of Music and Dance. University of Missouri--Kansas City, 2008. / A three movement work for orchestra and bass-baritone soloist using texts from three Shakespeare plays: Hamlet, Titus Andronicus and King Lear. "A dissertation in music composition." Advisor: James Mobberley. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Aug. 07, 2009. Online version of the print edition.

Thesis (M.M.)--University of Wisconsin--Madison, 1991. / Duration: 12:10. Texts also printed separately, leaves i-ii.

Title from accompanying document. / A.M. Forbes, soprano ; J. Anschutz, piano, organ ; K. Irwin, oboe ; D. Bakke, T. McClure, violins ; E. Takehana, viola ; V. Pugh, violoncello ; J. Langenkamp, tenor ; S. Rushing, narrator. / Digitized by Kansas Correctional Industries

This creative project is a setting of the book of Ecclesiastes from the Bible. The New English Translation has been used. A certain amount of editing of the complete Ecclesiastes has taken place and only three basic ideas are presented in the text: One, the emptiness of all endeavor; two, that death awaits us all; and three, some advice to a young man.The first song is built on a pedal point D and it is held by the double bass. This signifies emptiness. Above this pedal point there are various motives which are more fully developed in the second song. The third song uses a tone cluster pedal point in the string section which fades away to the ever present pedal point D held by the double bass, signifying the return of the opening words of the text: "Emptiness, emptiness, says the Speaker, all is empty." / School of Music

This composition is a symphonic setting of three original poems within the confines of an expanded sonata-allegro form and is an approximately twenty-two minutes in duration. The three poems are designed with certain cyclic implications which are related formally to the recurrence of musical ideas. The main application of this plan is found in the duality of formal roles assigned to each of the three major sectional divisions of the work. This is an expanded sonata-allegro, but each section (exposition, development, and recapitulation) is enlarged and individualized to the point of becoming a complete movement in itself. Each is intended to have the internal formal capacity to stand alone and at the same time serve as a section part of the whole. Formal unity is established without excessive dependence upon the poems, as both the music and the texts are formally evolved from the principles of sonata-allegro procedures. The poems were written specifically for this musical setting by the composer and are as an integral part of the compositional process itself; however, the poetry is didactic in purpose and is something of a jeremiad. Each poem relates principally to one of three aspects of existence: a ritual of history, a sermon for the present, and a prophecy of the future.

In the Baroque period, the baritone voice was not yet well-defined, but many composers wrote vocal pieces with a range appropriate for the modern baritone voice. Composers used the general categories of soprano, alto, tenor, and bass for solo voice in their compositions. Johann Sebastian Bach (1685-1750) was no different from other Baroque composers in writing solo works to be performed by one of the four main voice types. The various ranges and tessituras of J. S. Bach's vocal works for bass solo voice are not limited to being sung by low basses, but may also be sung by more medium ranged baritones. The purpose of this research is to guide collegiate voice teachers and their baritone students in selecting appropriate repertoire from the works of Bach on the basis of each students' level of development and to categorize four groups of bass solos by Bach for collegiate baritone students: beginning level for freshmen, intermediate level for sophomores, advanced level for juniors and seniors, and pre-professional level for seniors and graduate students. This research was prepared in conjunction with a DMA lecture-recital of eight bass solos for collegiate baritone voice, selected from the study; two vocal works for each proficiency level.

Opus 25 is a collection of compositions which I created between September 1995 and April 1997. Instrumentation varies; there are works for choirs, chamber ensembles, solo voice, solo harp, solo piano, and orchestra. All the works included in this collection have been performed at some point during this same period, and recordings of these performances can be found on the accompanying cassette.