The research investigated the conception of the early bassoon in the late 1600’s and its subsequent development through to the modern day. It explored the technical evolution of the bassoon and its impact upon solo compositions1 and performance. The recital repertoire was chosen to demonstrate the changing capabilities of the instrument associated with each evolutionary phase, and to show how an understanding of these changes helps to place accepted modern techniques into an historical context. The submission consists of two recital CDs which are supported by an exegesis. The exegesis outlines the ways in which the performer’s musical interpretation is enhanced through an understanding of the instrument’s developmental history. It is also a commentary of the musical and technical issues faced by the author whilst preparing and performing the repertoire. / http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1351017 / Thesis (M.Mus.) - University of Adelaide, Elder Conservatorium of Music, 2008

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Thesis (Ph. D.)--University of Texas at Austin, 1999. / Vita. Includes bibliographical references (leaves 187-199). Available also in a digital version from Dissertation Abstracts.

Thesis (Ph. D.)--University of Missouri-Columbia, 1998. / Typescript. Vita. Includes bibliographical references (leaves 227-233). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 1998. Thesis (Ph. D.)--University of Missouri-Columbia, 1996. / Typescript. Vita. Includes bibliographical references (leaves 227-233). Also available on the Internet.

Thesis (Ph. D.)--Princeton University, 1969. / Holograph. "This composition and the essay, The delayed structural downbeat and its effect on the tonal and rhythmic structure of sonata form recapitulation, together constitute the dissertation but are otherwise unrelated." Printed on double leaves.

Thesis (M.Mus.)--University of Pretoria, 2008. / Abstract in English. Includes bibliographical references: S-1 - S-13.

"Cycling" is a programmatic music work for solo bassoon with multiple mixed quartet accompaniment.

abstract: Concerto for Piano and Chamber Orchestra was conceived in February of 2013, and conceptually it is my attempt to fuse personal expressions of jazz and classical music into one fully realized statement. It is a three movement work (fast, slow, fast) for 2 fl., 2 ob., 2 cl., bsn., 2 hrn., 2 tpt., tbn., pno., perc., str. (6,4,2,2,1). The work is approximately 27 minutes in duration. The first movement of the Concerto is written in a fluid sonata form. A fugato begins where the second theme would normally appear, and the second theme does not fully appear until near the end of the solo piano section. The result is that the second theme when finally revealed is so reminiscent of the history of jazz and classical synthesis that it does not sound completely new, and in fact is a return of something that was heard before, but only hinted at in this piece. The second movement is a kind of deconstructive set of variations, with a specific theme and harmonic pattern implied throughout the movement. However, the full theme is not disclosed until the final variation. The variations are interrupted by moments of pure rhythmic music, containing harmony made up of major chords with an added fourth, defying resolution, and dissolving each time back into a new variation. The third movement is in rondo form, using rhythmic and harmonic influences from jazz. The percussion plays a substantial role in this movement, acting as a counterpoint to the piano part throughout. This movement and the piece concludes with an extended coda, inspired indirectly by the simple complexities of an improvisational piano solo, building in complexity as the concerto draws to a close. / Dissertation/Thesis / D.M.A. Music 2013

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