Thesis (D.M.A.)--Ohio State University, 2008. / Title from first page of PDF file. Includes bibliographical references (p. 196-208).

Thesis (M.A.)--Boston University / From the thirteenth century on, the antiphons to the propers of the Mass and to certain canticles of the Offices in the Roman Rite were sung to polyphonic motet settings. After the English Reformation in 1534, antiphons eventually disappeared from the services of the Book of Common Prayer and with them the motets. Because they had been a popular feature of the services, it was not long before a need was felt for an equivalent and the English anthem came into being. (The word "anthem" is but a corruption of the earlier terms for "antiphon".) The reformers desired that the complex additions of medieval pietism to the Roman Rite be either omitted or simplified and the attitude applied also to church music as did the ruling that all of the services be in a "tongue understanded of the people". The first Full Anthems of Tye, Tallis, Shepherd, Farrant, and others were in the simple, familiar style but with brief imitative "points" at the beginning of each phrase of the English text. The wish that the Archbishop of Canterbury, Thomas Cranmer, had expressed to Henry VIII that "the song...should not be full of notes but, as near as may be, for every syllable a note" was at first meticulously followed." [TRUNCATED]

Ring is a composition for orchestra (piccolo [doubling flute], two flutes, two oboes, English horn, two clarinets in B-flat, bass clarinet, two bassoons, contra-bassoon, four horns, four trumpets, two tenor trombones, bass trombone, tuba, three percussion parts [including glockenspiel, vibraphone, tubular bells, snare drum, toms, bass drum, suspended cymbal, drum kit, triangle, and gong], timpani, harp, piano, and standard strings) and spatially separated women's choir (SA right, SA left). This arrangement of media is intended to "ring" the audience with performers. At the notated tempo of two quarter-notes per second, the duration of the piece is exactly 17'40". The title of Ring comes from a poem of the same name written by the composer which is the principal text sung by the choir in the piece. The text of the poem is as follows: Wendy is a ring / A beginning and an end / Connected / The finest gold / Melted by touch / Cooled by breath / She fits my every finger / Without constraint / But permanent / Priceless, Precious, Beautiful / Alone / She clothes me. The poem and composition were written for, and dedicated to, the composer's wife. The ring metaphor ("ring" meaning cyclical, unending, complete) underlies many of the compositional choices in the work. Much of the surface of the music and its deeper structural elements are palindromes, which, because they end as they begin, have a circular nature. Also, the pitch structure of the piece involves the climactic completion of the "cycle" of the twelve available equal-tempered pitch classes. A further organizational element is the Fibonacci series, a mathematical construct which is used to determine small-scale rhythms and the duration of the larger sections of the work. These components, taken together, have resulted in a composition filled with variety and contrasts, which, nonetheless, is quite organically cohesive. / Arts, Faculty of / Music, School of / Graduate

Haiku Seasons is a choral work that uses several haiku to portray moments in nature. Spread throughout the performance space, four choirs (SATB, 3/part) depict larger parts of the pastoral scene (i.e., mountains, the moon, etc.). Soloists depart from the choirs in order to perform solo, duo, trio, and quartet passages, which take place throughout the work. If enough singers are available, individual soloists may be used. The soloist groups display the more intimate moments of the scenes (i.e., sparrows, a blade of grass, etc.). The intent of Haiku Seasons is to create an image of nature isolated from human interaction. Thus, the image is a pastoral setting with many independent parts all coexisting in a relatively silent world. I combine aspects of tonality, time, space, and silence to create this image.

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作品集內共有十一首作品，為修讀音樂博士學位期間所創作，分別為：《竹露》、《枯丫嘯鳴》、《痕》、《我是在魚缸裏的金魚》、《夜雷細雨打梨花，靜聽微風響叮鈴》、《碎彩迷圖》、《悸動》、《雲泊》、《魂牽夢縈，更哪堪酒醒！》、《唧唧咕咕》以及《畫布》。 / My portfolio of music compositions consists of eleven compositions encompassing works for solo, duo, trio, medium to large ensemble, choir a cappella and orchestra. / In retrospect, the compositions in my portfolio can be categorized into four states of maturity and intelligence growth during my doctoral study. Dew on Bamboo Leaves, Arid Branches Resound and Scar present my primitive and instinctive thoughts on harmonic colours, motivic organity and expression of solitude and sentimentality. Im a Goldfish in a Globe , Pyrus Flower in Rain and In the Labyrinth of Stained Glass Mosaic establish my proficiency in orientating musical idiom and in communicating deliberated artistic conception of space and time with music. Palpitation and A Lagoon of Clouds comprise a comprehensive perception of texture and temporality. Lastly, Yearning . Sober Anguish , Susurrus and Canvas convey my dexterity incraftsmanship, complexity, musical form and poeticality. / In brief, my portfolio exemplifies my idiosyncratic insight into music as atemporal art, as a language and as an architecture of soundscape. Itrepresents the artistry of my compositions as a young composer. / Detailed summary in vernacular field only. / Lee, Kar Tai. / Thesis (D.Mus.)--Chinese University of Hong Kong, 2013. / 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 Chinese. / Abstract / Acknowledgements / Content / Volume I / Dew on Bamboo Leaves --- p.P.1 (9) / Arid Branches Resound --- p.P.17 (14) / Scar --- p.P.37 (5) / Im a Goldfish in a Globe --- p.P.49 (3) / Pyrus Flower in Rain --- p.P.57 (3) / In the Labyrinth of Stained Glass Mosaic --- p.P.65 (16) / A Lagoon of Clouds --- p.P.85 (17) / Yearning --- p.P.107 (36) / Susurrus ( Quiet Carriage) --- p.P.147 (2) / Volume II / Palpitation - Montage for Large Orchestra in 100 Seconds --- p.P.1 (6) / Canvas --- p.P.13 (28)

Title from accompanying document. / Collegiate Chorale ; conducted by Kathleen Wilson ; J. Sloop, soprano ; D. Huyett, piano ; J. Hall, organ ; Student String quartet ; Student Recorder Ensemble. / Digitized by Kansas Correctional Industries