"Movements -- homage to Joseph Haydn" is commissioned by Dr. Helmut Sohmen, to commemorate the 200th anniversary of the death of Joseph Haydn. It is premiered by the Anton von Webern Orchestra of the Universitat fur Musik und darstellende Kunst Wien in Vienna on 28 November 2009. The Asian premiere is performed on I February 2010, by the orchestra of the Academy of Performance Arts of Hong Kong. / During the past two centuries, music has developed from classical to romantic, and to contemporary; orchestra size from thirty musicians to a double or even a triple; from simple harmonic structures to complicated; from tonal to atonal; from sound to silence; from resonance to dissonance and noise (or some people say it in the other way round); and lastly, from Haydn to contemporary composers (including Tang!!). In "Movements -- homage to Joseph Haydn", inspired by Haydn's simplicity, several excerpts are taken from Haydn's works, small as just a tiny fragment or large as an original quotation. It aims to strive for a balance between the shifting of Haydn's style and Tang's, giving a mix of classical and modern flavor. It shows changes from the modern to the classical Haydn, then back to the modern, like a scene of time line. Movements is presented in one continuous movement, with four distinct sections: I. Before "Sunrise"; II. Franz Joseph Haydn; III. After "The Lark"; and IV. Adagio e cantabile. / I. Before "Sunrise" begins in a rather slow but ongoing tempo, creating a blurred atmosphere; not really a descriptive scene before a real sunrise. It aims for a feeling of leading-to, moving towards the string quartet "Sunrise" by Haydn. Although nothing from Sunrise has been used, the musical ideas are taken from the works before it. The piccolo leads the start with a series of acute repeated notes, which create the vague sounds of the minor 7th and the major 9th intervals with the repeated pattern in the trumpets and the piano. The figures are then followed by the other main element: the long sustained chords, which are recurred frequently throughout the whole section. The long chords echo in the orchestra, and sustain with inner-movement shifting among different groups of instruments, in varying registers. When the repetitions and the long sustained chords get merging together, the repeated figures gradually become transparent, and transform into a dominant one. Without any pauses, the repetitions naturally turn into the second section and fill into its harmony. / II. Franz Joseph Haydn has a quoted passage from Haydn's String Quartet No. 61 "Fifth" in D minor op. 76 no.2, also presented in the solo strings, with accompaniment of the tutti strings and harmonic support from the winds. The second section differs from the misty first; the quotation itself is clear and with varying developments afterwards. / III. After "The Lark", a fast section, has a quoted passage from the last movement of Haydn's String Quartet No. 53 in D major "The Lark" op.64 no.5. Short scale figures are used in a simple phrase structure. The changing texture is important so as to maintain the direction and progression of the section. Starting in the woodwind section, each phrase is designed to keep a common factor of spinning up and down, and spiraling among the entire ensemble. Layers with different fragmented materials are added onto the top like a multilayer cake. Together with numerous contrapuntal shifting, where two or three different textural ideas move at the same time, new but related ideas (scale figures) are kept being created. It is like putting hundreds of images of one single object together onto one single screen, with images taken in different angles, different time and different perspectives. Within the screen, uncountable colorful details are kept, with chemical effects. / The first theme of the second movement of Haydn's Piano Sonata no.59 in E flat major is collaged with the last section, IV. Adagio e cantabile. Sustained chords are built to proceed alongside the theme, in a way of fading in and out alternatively. The finale aims for a conclusion of the whole piece, bringing Haydn to modernity. Both subjects are like representing two different times from two different spaces, recurring in the same moment and on the same platform. / The instrumentation of Movements consists of pair winds (with the exception of an extra bass clarinet and four horns), percussions, piano and strings. In order to pay tribute to Haydn's string quartets, the first and third sections are entitled after two famous quartets: String Quartet No. 63 "Sunrise" in Bb major op.76 no.4 and String Quartet No. 53 in D major "The Lark" op.64 no.5. The strings are sometimes divided into a solo group of quartet versus the tutti strings, implying a string quartet solo with orchestra accompaniment. Adagio e cantabile, the title of the last section, is a tempo marking taken from a slow movement of a Haydn's Piano Sonata no.59 Hob. XVI: 49 in Eb major, where the sonata was also partially used in a 1994 movie "Interview of the Vampire: The Vampire Chronicles" . In general, the tempo structure is simply set in a form of slow-fast-slow, as III. After "The Lark" is a comparatively faster section than the other three. Gestures from Haydn's string quartets are used as reference. For example, simply chords, scale pattern, repeated notes and simple phrase structure, are constructed as the foundation of Movements . These gestures are designed to be presented in varying ways such as variations, augmentation, amplification, and compression. / 1. Movements: homage to Joseph Haydn, for orchestra -- 2. Falling up, for string quartet and suona -- 3. Distorted indulgence, for clarinet, electric-guitar, cello, contrabass, piano and percussion (all amplified) -- 4. It is what it is! for sheng and chamber orchestra (1 clarinet in Bb, 1 bass clarinet in Bb, 1 soprano saxophone in Bb, 1 alto saxophone in Eb, 1 horn in F, 1 tuba, 1 violin, 1 viola, 1 cello, 1 piano, 1 percussion) -- 5. Chao, for suona and Chinese orchestra -- 6. Dragon-lantern, for 9 suonas and Chinese orchestra -- 7. Clarin and Tim, for Bb clarinet, tenor timpani and concert timpani. / Tang, Lok Yin. / "(December 2009)"--Abstract. / Adviser: Wai Kwong Victor Chan. / Source: Dissertation Abstracts International, Volume: 73-03, Section: A, page: . / Thesis (D.Mus.)--Chinese University of Hong Kong, 2010. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [201-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstract also in Chinese.

Dead water : song cycle for tenor and piano -- Shan shui : for string quartet -- Kuang fu : for SSAAATTBB and yangqin -- If life is unknown : for wind quintet -- Symphony II : Marrison for chamber orchestra, male choir, erhu and zheng -- Jazzy illusion of a Chinaman : for clarinet/bass clarinet, piano/electric keyboard, electric guitar, drum set, cello and double bass -- Liao Zhai : Chinese strange tale for recorders , percussions, soprano, tenor and baritone -- A madman's diary : piano solo work. / Tam, Chin Fai. / Thesis (D.Mus.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (leaves 391-392). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong , [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstract also in Chinese; includes in Chinese.

Compositions include Sightings : for clarinet and marimba (ca. 14:00), Proboscis maximus : bass trombone solo (ca. 11:00), Pathways : for violin, ’cello and piano, Impulses : for marimba duet, and Gleaned from the wind : for chamber orchestra (ca. 13:00).

This submission comprises a portfolio of fifteen original musical works and an exegesis that comments on five of these works. Recordings of twelve of the fifteen compositions are included. These pieces demonstrate an ongoing investigation into structure, and the discussion will provide an insight into the constant process of experimentation and consolidation involved in developing such a body of work. In the exegesis I open with a general conversation on the compositional process and then focus on the formal problems inherent in this process. I then discuss the five scores included in the main volume, looking at how each are formed, and comparing their formal characteristics. This involves an analysis of the musical materials and how such materials are treated through repetition and transformation. I will also look at the aesthetic and stylistic concerns and how they inform the formal architecture of each work. An appendix includes the scores of a further ten works, with a brief introductory commentary on each. / http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1351235 / Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2008

Thesis (Ph.D.) --University of Adelaide, Elder Conservatorium of Music, 2008. / "October 2007" Bibliography: leaves 168-170. Also available in print form.

The introductory chapter of this Thesis describes the development of choir music in Bohemia, starting with unison singing, through polyphonic singing, proceeding to forming of literary societies, and, finally, the form of choir singing as we know it today. In the theoretical part, we use the most important historic and social moments of the Prague Hlahol Choir to illustrate almost 155 years of its existence. The following chapter reflects the most significant concerts, introduces the choir's repertoire and how it changed through times, mentions premieres of choir masterpieces, cooperation with other significant choirs and prominent musicians. In the practical part, we reprint the interviews with long-time choir members and personal experience of some of the artists who have cooperated with the Prague Hlahol Choir. To complete this Thesis, we used anniversary almanacs, annual reports, historic documents and photographs, etc. We also included personal views of the choir members, choir leaders and the prominent musicians who have cooperated with the choir. Based on the assembled data, we can evaluate the progress the choir has made, the changes it has undergone and also the impact it has made from the day it was established. The main contribution of this Thesis is that it brings the overview of the...

Compositions include Sightings : for clarinet and marimba (ca. 14:00), Proboscis maximus : bass trombone solo (ca. 11:00), Pathways : for violin, ’cello and piano, Impulses : for marimba duet, and Gleaned from the wind : for chamber orchestra (ca. 13:00). / Arts, Faculty of / Music, School of / First, 2nd, 3rd, and 5th works reproduced from manuscripts. Includes performance notes for 1st and 2nd works. Includes composer’s graduation recital program. Vita. Accompanied by sound cassette of recital. / Graduate

This submission consists of three parts, found in two volumes. Volume 1 consists of a folio of eight original compositions, composed during the tenure of my PhD candidature at the University of Adelaide. These works cover a range of media, including symphony orchestra with soloist, large chamber ensemble, string quartet with soprano solo, guitar quintet, mixed choir and vocal trio. Volume 2 presents an exegesis that contains commentary on the genesis and analysis of the submitted works, together with an explanation of certain modal processes that have been explored and applied. Volume 2 also contains three minor compositions that were composed during my candidature, presented as an Appendix. These are analysed and referenced within the exegesis discussion. Two CDs of live recordings of some of the submitted works are included as part of Volume 2. The Exegesis, Appendix and Sound Recordings found in Volume 2 act as secondary material to support the primary material presented in Volume 1. Of the eight compositions presented in Volume 1, Skin, Metal, Wood – Concerto for Percussion and Orchestra is the major orchestral work of over 30 minutes, in fulfilment of submission requirements. The musical works contained within this submission offer a personal exploration of certain modal processes. In particular, the tonal principles of modulation and key relationships have been transferred into a modal system that features church, folk and synthetic modes. The exploration of modal processes has been carried out through the works themselves, and the accompanying exegesis acts as a commentary on the genesis of the works. / Thesis (Ph.D.) - University of Adelaide, Elder Conservatorium of Music, 2008

Opus 25 is a collection of compositions which I created between September 1995 and April 1997. Instrumentation varies; there are works for choirs, chamber ensembles, solo voice, solo harp, solo piano, and orchestra. All the works included in this collection have been performed at some point during this same period, and recordings of these performances can be found on the accompanying cassette.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1974. / Typescript and manuscript. Vita. For 2 choruses (SATB), 2 speakers, and instrumental ensemble (piano, harp, percussion, flute, oboe, bass clarinet, trumpet, horn, bass trombone, 2 violins, 2 violoncellos, and 2 double basses); performance also requires people to control slide projections and lighting changes. English words. Text for score is from Credo one and Credo two, by Gavin Arthur; text read by speakers before the beginning of the piece is by Jalal ud-din Rumi, a 13th-cent. mystical Persian poet. Includes performance instructions. Includes the compositions "Winter's not forever (on three poems by e. e. cummings) for soprano, female speaker, and six players" (leaves 124-148) and "--And it always will be (for percussion soloist with orchestra)" (leaves 149-186) by the author. "Winter's not forever": for soprano, speaker, flute, horn, bass clarinet, double bass, percussion, and piano/celeste. Description based on print version record.