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Note: Sheet music available.

In Morte Nobilis is a cantata for chamber orchestra and three vocal soloists, and is approximately seventeen minutes in duration. Each of the three movements features a different vocal soloists (soprano, baritone, or tenor) and each movement concerns a specific Christian martyr. Texts for In Morte Nobilis are extracted from the writings and biographies of the martyrs. Each text gives the listener some insight as to how each martyr faced their death with courage and unwavering faith. The music of In Morte Nobilis gives additional insight as to what these martyrs faced. This is accomplished through a building and release of tension and dissonance, as well as some use of non-standard vocal technique.

Night of Glass is for chamber orchestra with an estimated performance time of 14 minutes. The instrumentation for the work, using one player per part, is Flute (also small glass wind chimes), Oboe (also 1 tuned water crystal), Clarinet in A (also small glass wind chimes), Bassoon (also 1 tuned water crystal), Horn in F (also 1 tuned water crystal), Trumpet in C (also 2 tuned water crystals), Percussion (Vibraphone, Glockenspiel, Chimes, Bell Tree, Hammered Dulcimer, 3 Suspended Cymbals, 1 Large Tam-tam, 4 Roto Toms, 3 Tympani), Piano, 1st Violin, 2nd Violin, Viola, Cello, and Double Bass, While not programmatic, the work is divided into six sections each expressing a predetermined emotional content: fragility, anxiety, solitude, fear, catharsis, and reconciliation. All are emotional contents which are found in the dream-state that is reflected in the work's title. All aspects of Night of Glass (i.e., pitch material, form structure, and structural density) are centered around the unifying factor of emotional projection within each section. The work seeks emotional content through the expansion of composition procedures while being accessible to listeners.

Thesis (M.A.)--Eastern Illinois University, 2008.

Thesis (D.M.A.)--University of Texas at Austin, 2004. / Supervisor: Kevin Puts. Vita. Includes bibliographical references.

Thesis (Master of Music)--University of Missouri-Columbia, 2004. / Typescript. Also available on the Internet.

Thesis (M.M.)--University of Missouri--Columbia, 2004. / Typescript. Duration: ca. 32:00.

Thesis (Master of Music)--University of Missouri-Columbia, 2004. / Typescript. Also available on the Internet.

Symphony No. 1 "Concertante" is a work of approximately twenty-two minutes duration for chamber orchestra. The work is scored for flute (doubling piccolo), oboe (doubling English horn), B-flat clarinet, bassoon, trumpet, F horn, trombone, tuba, percussion, harp, piano (doubling celesta), solo violin, solo viola, solo cello, solo double bass, and strings.The percussion battery, which is to be played by one performer, includes three timpani, vibraphone, orchestra bells, xylophone, chimes, suspended cymbal, bass drum, snare drum, and two triangles. One group of instruments, including the eight winds, percussion, and the four solo strings, is treated primarily in a soloistic manner although it also functions as a part of the ensemble. The remaining group, piano, harp, and strings, functions primarily as an accompanying group although it does get some soloistic treatment. The work is in four movements, each of which uses the traditional symphonic form. Movement I is in sonata-allegro form, movement II a simple ternary "song" form, movement III a scherzo and trio, and the final movement is a theme and variations. These traditional forms apply only to thematic use and development, however, for the tonal scheme is developed in a broader design which unfolds throughout the course of the four movements. All important melodic ideas are based on the same pitch set that serves as the basis for the tonal scheme.