No abstract available. / Thesis (M.Mus.)-University of KwaZulu-Natal, Durban, 2004.

Time for Bee consists of a series of ten original musical/theatrical compositions created between September 1992 and January 1994, first performed on the evening of January 28, 1994 in the Recital Hall of the University of British Columbia. While each of the works can be performed individually, it was the composer’s intent to create a recital which is logical in its progression. This should suggest that in some way the pieces belong together as a larger whole. The concept of “waiting” circulates throughout all the works, in the sense that the actual material is either minimalist (and so one is forced to “wait” for changes), or the philosophy behind a given piece is similarly based, but may not be evident in the sounding music. The studies in the music machine, for example, try to incorporate necessary stage changes between pieces (and the waiting the audience goes through) into musical events about such waiting. A secondary interest concerns the concept of contradiction. The majority of the works are, for example, based upon high-sounding textures (flute, violin, clarinet, high piano and mallets, etc). The studies in the music machine attempt to introduce low-sounding textures as a contrast, however, and throughout the recital a timpani and a bass drum sit off to the side of the stage, unplayed. These ideas, and others, are meant to serve as a contradiction to the unified high-sounding textures of the majority of the recital. Individual pieces are similarly based upon concepts of contradiction and waiting. Memory, as a concept, plays a prominent role in several pieces as well.

Time for Bee consists of a series of ten original musical/theatrical compositions created between September 1992 and January 1994, first performed on the evening of January 28, 1994 in the Recital Hall of the University of British Columbia. While each of the works can be performed individually, it was the composer’s intent to create a recital which is logical in its progression. This should suggest that in some way the pieces belong together as a larger whole. The concept of “waiting” circulates throughout all the works, in the sense that the actual material is either minimalist (and so one is forced to “wait” for changes), or the philosophy behind a given piece is similarly based, but may not be evident in the sounding music. The studies in the music machine, for example, try to incorporate necessary stage changes between pieces (and the waiting the audience goes through) into musical events about such waiting. A secondary interest concerns the concept of contradiction. The majority of the works are, for example, based upon high-sounding textures (flute, violin, clarinet, high piano and mallets, etc). The studies in the music machine attempt to introduce low-sounding textures as a contrast, however, and throughout the recital a timpani and a bass drum sit off to the side of the stage, unplayed. These ideas, and others, are meant to serve as a contradiction to the unified high-sounding textures of the majority of the recital. Individual pieces are similarly based upon concepts of contradiction and waiting. Memory, as a concept, plays a prominent role in several pieces as well. / Arts, Faculty of / Music, School of / Includes 1 sound cassette / Graduate