Symphony Number 1 for Concert Band is a musical composition for symphonic band. The work calls for an ensemble of large forces in order to explore a variety of musical textures and techniques within traditional formal design. Formally the work is in three independent movements. Each movement is built upon a relatively traditional form or key scheme. The first movement is the most complex, a modified rounded binary form with dominant -- tonic relationships. The second is a passacaglia, and the third is a highly rhythmic sonata rondo. A variety of instrumental textures are explored throughout the work. Climactic sections call for large tuttis and ensemble unisons. Sections for small groups balance these larger statements. Soloists drawn from the ensemble are frequently called for, with the third movement featuring an extended duet for soprano and alto saxophone. Traditional tonal harmonic structures are melded with harmonies driven by polytonal chromaticism in a melodic context. Polytonal chromaticism is a formative element of the work, appearing throughout each movement and used to provide structure and dramatic tension at all levels within the composition. / text

There is no abstract available for this thesis. / School of Music

Symphony no. 2 is a three-movement work for band. Each movement is dedicated to a pivotal figure in my development as a composer. The first movement is a march/scherzo based on octatonic collections, the second movement is a passacaglia modeled after the style of Philip Glass, and the third movement is a theme and variations written in my own personal style. Additionally, all three movements contain references to the hymn "Blessed Assurance" in gradually more obvious forms as the work progresses, although only the third movement includes an outright statement of the tune. This treatise consists of the full score for the symphony, followed by a discussion of the programmatic, formal, harmonic, and motivic elements of the music. / text

Symphonie Militaire is a three movement work for twelve solo wind instruments composed by Edouard Batiste (1820-1876), a professor at the Paris Conservatoire and organist. The composition is scored for flute, two oboes, two B-flat clarinets, two bassoons, E-flat trumpet with valves, two F horns with valves, trombone, and B-flat ophicleide. In this edition, which was prepared from the original manuscript, the trumpet part is transposed to B-flat and a tuba has been substituted for the ophicleide. Based on a study of the score, as well as knowledge of wind band music of the period, several speculations have been made concerning the reason for the composition of the piece. The limited instrumentation supports the idea that, like other military symphonies, Symphonie Militaire may have been written for a special occasion. The work is, however, at least a reflection of the concern in 1845 for the reconstruction of the French military bands.