Thesis (D.M.A.)--University of Wisconsin-Madison, 1991. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record.

Thesis (D.M.A.)--University of Wisconsin--Madison, 1998. / For flute (piccolo), B♭ clarinet (E♭ clarinet), violin, violoncello, and percussion (1 player), and piano. Typescript. Duration: 15:00. Includes performance instructions. eContent provider-neutral record in process. Description based on print version record.

Thesis (D.M.A.)--University of Wisconsin--Madison, 1994. / For oboe, clarinet in A, viola, violoncello, and piano. Typescript. Includes performance notes. eContent provider-neutral record in process. Description based on print version record.

This thesis is engaged in cantatas of Johann Sebastian Bach, in which composer calls for violoncello piccolo. It is divided into four chapters. The first chapter deals with the issue of instrument, the following chapter is dedicated to the historical kontext of cantatas and their instrumentation in connection with violoncello piccolo. The third chapter is a musical analysis of individual arias in nine subsections. The fourth chapter deals with the question, on which instrument can be now these solos. The thesis contains actual score examples and the footnotes.

The lecture recital was given April 11, 1977. The subject was Eclectic Qualities of Zoltán Kodály's Sonata, Opus 8, for Solo Violoncello, and it included a discussion of rhythmic, melodic, harmonic, and formal qualities of the sonata along with conclusions and performance suggestions. The Kodály Sonata, Opus 8, was performed at the conclusion of the lecture.

The aim of this diploma thesis was to design and subsequently produce a functional prototype of a musical instrument inspired by the cello or the fretless bass guitar at a scale of 1:1, so that it can be presented in terms of both processing and production, but also sound presentation. The thesis consists of two main segments, the theoretical part focuses mainly on the explanation of the reason for the creation of this concept, the familiarization with the tools on which the prototypes are based, the information about the instruments from the historical pieces to the contemporary ones. The component part is also an explanation of physical concepts and a following description of used materials, components and their importance in this work. The second, practical part deals mainly with the processes necessary for the physical creation of the tool, starting with the initial ideas, presentation of sketches, technical development, production, finalization, but also subsequent measurement and analysis of the prototype.

This dissertation consists of two parts. The first and main part is the score of L 'entreprise de seduction, a 22-minute work for solo cello and instrumental ensemble [1011, 1010, percussion (1 player), piano, 2111], along with a recording on compact disc. The second part is an accompanying analytical text about the work. In the text, after a short description of the project, of its objectives and original contribution, we discuss the theoretical basis of my compositional approach. This approach stands on the fundamental structural independence of poiesis and esthesis, and leads to a musical aesthetics favouring formal transparency and seeking an active listening attitude. Two sets of compositional techniques are then introduced: techniques using the 12-tone row and techniques based on chance operations. We observe that those techniques all endeavour to balance systematicism and intuition to the greater profit of musical expression. We then proceed to a detailed analysis of L 'entreprise de seduction revealing its main musical material and processes. The text concludes with a few overall comments and by a discussion of the possible impact of this composition on my future projects.

Sans etoiles is a musical composition in three movements written for clarinet, horn, violin, cello and piano. This essay deals with the principal characteristics of the musical material used in the piece, the modalities governing transitional processes and the influence of these factors on memory and the perception of musical time. The artistic project gave way to a reflection on the directional aspects of music in order to establish transitional links between independent musical entities defined as 'musical objects'. The main transitional agent between these entities consisted of an autonomous musical layer bearing an exclusive impact on the surrounding musical context. The harmonic network of the piece, a set of interchangeable chord progressions, was conceived from the self-replication of a three-note cell. Each movement of the final work proposes a unique approach to musical time.

Thesis (M.A.)--University of California, San Diego, 2008. / Accompanying disc is DVD-ROM, and contains sounds files for recordings of the works. Title from first page of PDF file (viewed June 25, 2008). Available via ProQuest Digital Dissertations. Performance instructions precede each score.

Dissertation (D.M.A.)--The University of North Carolina at Greensboro, 2009. / Directed by Kelly Burke; submitted to the School of Music. Title from PDF t.p. (viewed Apr. 29, 2010). Includes bibliographical references (p. 49-51).