Fading Points is a piece of music for large wind ensemble. The work is concerned with time perception and is designed to convey to the listener a long temporal progression from slow music to fast music. To this end, the work is written using musical gestures specifically designed for their portrayal of musical time. The work consists of four sections, each of which is described in detail in the analytical part of the thesis. The analysis also describes the rhythmic language, which is created around short rhythmic cells. These cells are based on ratios and are used in all levels of the piece from the surface rhythm to the large formal divisions. The harmonic language is also described. The vertical harmony is derived from a dense chord presented at the beginning of the piece. The horizontal pitch material is created from small pitch cells, also taken from the opening chord. These cells are used in isolation but are also combined to create modes, which are the focus of the latter parts of the piece.

No description available.

Crescent City Tableaux is an original omposition in three movements for wind ensemble that portrays aspects of the city of New Orleans. The fifteen-­‐minute composition uses musical quotation and jazz-­‐influenced styles within an essentially tonal idiom to create a musical tribute to that city. The first movement, “Jackson Square,” introduces melodic and rhythmic motives and sets the tone for the rest of the piece. The second movement, “‘I understand that somewhere it has rained,’” addresses the sadness and anger caused by Hurricane Katrina. The thirdmovement, “Second Line,” celebrates the brass band and Mardi Gras Indian traditions of New Orleans. The accompanying document provides a review of relevant literature for the wind ensemble and symphony band, an analysis of Donald Grantham’s J’ai été au bal and the third movement of Michael Daugherty’s Lost Vegas, and a discussion of the music that is quoted in the work. Analytical essays on each of the three movements discuss structural features, motivic processes, and compositional techniques. / School of Music

Dissertation (D.M.A.)--The University of North Carolina at Greensboro, 2010. / Directed by John Locke; submitted to the School of Music. Title from PDF t.p. (viewed Jul. 7, 2010). Includes bibliographical references (p. 43-45).

MCABC 0475 is the first composition generated by MCABC (Music Composition Aided by Computer), a computer program written in PL/1. Its duration is approximately 14 minutes. Using a North Texas State University computer library program, the full score and parts were drawn by the CALCOMP plotter. The text, which discusses processes and procedures in developing MCABC 0475, as well as indeterminacy, aesthetics of computer composition, and pro gr am user information, was printed by the IBM 1403 line printer using an ALA chain which has both upper and lower case characters.

Thesis (Ph. D.)--Ohio State University, 2007. / Title from first page of PDF file. Includes bibliographical references (p. 64-65).

Thesis (doctoral)--University of Utrecht, 1987. / Vita. Includes short summaries in German and Dutch and index. Includes bibliographical references (p. [411]-418).

Gyorgy Druschetzky was a noted Czech composer of Harmoniemusik, who wrote more than 150 partitas and serenades, along with at least thirty-two other selections for larger wind groups. This is in addition to twenty-seven symphonies, eleven concertos (most for wind instruments), two fantasias, forty-seven string quartets, two operas, a ballet that is lost, and other miscellaneous chamber music for various combinations of wind/string instruments. Three of his works for winds have existed only in manuscript form since their composition: Concerto in E-flat pour 2 clarinett en B, 2 cors en E-flat, 2 fagott; Overture to Mozart's Die Zauberflöte; and Partitta a la camera a corno di bassetto primo, secondo, terzo, due corno di caccia, due fagotti. These works remain remarkably interesting to modern ears and deserve to be heard in the twenty-first century. Along with a brief examination of Druschetzky's life and how it figures into the history of Harmoniemusik, this work presents each piece edited into a modern performance edition.