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Thesis (D.A.)--Ball State University, 2009. / Title from PDF t.p. (viewed on Nov. 12, 2009). Includes bibliographical references (p. [224]-229) and indexes.

Thesis (M.M.)--Conservatory of Music and Dance. University of Missouri--Kansas City, 2009. / "A thesis in music education." Advisor: Charles Robinson. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Nov. 25, 2009. Includes bibliographical references (leaves 153-163). Online version of the print edition.

Thesis (Ph. D.)--University of Missouri-Columbia, 2001. / Typescript. Vita. Includes bibliographical references (leaves 174-181). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 2001. / Typescript. Vita. Includes bibliographical references (leaves 174-181). Also available on the Internet.

Thesis (M.A.)--University of North Texas, 2001. / Includes bibliographical references (p. 61-63).

This thesis includes an Introduction, which explains some of the ideas and procedures involved in a series of compositions I produced during the period from October, 2008 through November, 2011, a discussion of the works themselves individually and in roughly the same chronological order in which they were composed, and a summary of Conclusions which may be drawn. Included as an Appendix are texts for reference while listening to the vocal works. Complete scores of the works with representative recordings make up the main body of the thesis, except in the case of the solo piano suite Equilibria, where the score is included but the work remained unrecorded at the time of submission. Ideas discussed include some which unite or distinguish the processes of musical improvisation with/from more methodical modes of composition. Also the theme of musical collaboration is considered in contrast to the notion of the composer who works – or appears to work – in isolation. Research into traditions of music is regarded as important to compositional practice overall. Among the Conclusions is that my own orientation to these ideas places me in the category of post-minimalist composers. Throughout this discussion I have involved commentary from other relevant and important thinkers, critics and composers.

English composer Gerald Finzi's (1901-1956) early life was plagued by the deaths of close friends and family, and the beginning of the first world war. Before his eighteenth birthday, Finzi lost his three brothers, his father and his beloved composition teacher. To mourn these deaths and perhaps as a reaction to the first world war, Finzi began to compose his Requiem da Camera (op. 3b, 1924). Finzi completed three movements of this four-movement work during his lifetime, and left sketches for the completion of the unfinished third movement. Beginning in 1984, Philip Thomas, with the blessing of the Finzi family and the Finzi Trust, began examining the extant sketches in an attempt to complete the unfinished third movement. Thomas completed and published his edition of the Requiem da Camera in 1992. After a careful examination of this completion, a number of editorial questions were raised. This document was created to address these questions. It sets out historical parameters to provide context for Finzi's original composition, goes on to describe the development of liturgical and non-liturgical requiem composition, and discusses the development of British non-liturgical requiem (and requiem-like) compositions in the twentieth century. Thomas's completed third movement is compared to Finzi's source material. Four major areas of discrepancy are presented and examined to bring the movement closer to Finzi's original compositional intent. The document concludes with a new completion of the third movement. It combines the work of Finzi and Thomas, along with information gleaned in the process of creating this document, the remainder of the original Finzi composition, and other of Finzi's compositions with similar qualities from this era.

The purpose of this study is to provide a guide for conductors when evaluating issues of balance in works for chorus and symphonic band, and to assist them in realizing such works in performance. The principal focus of the document will be an analysis of vocal and instrumental textures in Requiem by Frigyes Hidas as they affect balance and textual clarity, using accompaniment types described by Hawley Ades as guides. The analysis shows that the scoring helps mitigate balance problems commonly found in other works scored for similar forces, making a variety of performance options and interpretations available to conductors. Ensemble issues are discussed as they relate to balance, as are practical solutions regarding stage setup.

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