...I never saw another butterfly... is a twelve movement chamber work scored for SATB choir, narrator, percussion I [vibraphone, and tomtoms (4)], percussion II [timpani (4), tam-tam, snare drum, and bass drum], guitar, violins I and II, viola, and cello and is based on the book of the same name. It contains a variety of compositional techniques, forms and genres.

A Wedding Ceremony is a composition of approximately 17 minutes in duration and is scored for horn in F, two trumpets in B-flat, trombone, two percussionists (timpani, roto toms, chimes, snare, triangle, suspended cymbal), 2-part boys choir, female soprano, and organ. The work consists of five parts of a mass, the Processional, Kyrie, Alleluia!, Hosanna!, and Recessional, with texted sections being taken from the Latin mass. The work is intended for a sacred wedding service of any denomination. The work was composed with the traditional aspects of the Latin mass in combination with a contemporary setting.

by Jerry M. Cain / Typescript / Includes complete vocal and instrumental scores of 2 liturgical motets and 3 sacred concertos of the early 17th century transcribed into modern notation / For mixed voices and/or instruments / M.M. Florida State University 1994 / Compositions LE45-48, 143 in Levoča Ms. Mus. 13993; ms. of German composers, copied in organ tablature by Johannes Schimbraczky / Includes bibliographical references / Score texts in German and Latin; 2 scores are without text

ELATIO: Praises and Prophecies is an allegorical composition based upon a collection of carols, poetry and prose in selected verses, phrases and fragments from medieval Christian liturgy, the canonical Hebrew Bible (Old Testament) and New Testament, and portions of various non-canonical Dead Sea Scroll texts. The languages used in the selections presented here are English, Medieval Latin, and transliterated Biblical Hebrew.

No description available.

Thesis (Ph. D.)--University of California, Los Angeles, 2008. / CD-ROM entitled "The motion graphics scores of Severin Behnen" includes the animated scores. Includes bibliographical references (v. 1, leaves 138-142).

The English musician William Boyce was known as an organist for the cathedral as well as the Chapel Royal, a composer of both secular and sacred music, a director of large choral festivals, and the editor of Cathedral Music, the finest eighteenth-century edition of English Church music. Among Boyce's compositions for the church are many examples of verse and solo anthems. Part II of this thesis consists of an edition of one verse and three solo anthems selected from British Museum manuscript Additional 40497, transcribed into modern notation, and provided with a realization for organ continuo. Material prefatory to the edition itself, including a biography, a history of the verse and solo anthem from the English Reformation to the middle of the eighteenth century, a discussion .of the characteristics of Boyce's verse and solo anthems, and editorial notes constitute Part I.

by Ho Tsz-Yan, Rebecca. / Thesis (M.Mus.)--Chinese University of Hong Kong, 1998. / Abstract also in Chinese. / Chapter Part I: --- p.page / Chapter ´Ø --- Abstract --- p.1 / Chapter Part II: / Chapter ´Ø --- "Analysis on ""Conversation""" --- p.3 / Chapter ´Ø --- """Conversation"" (Full Score)" --- p.6 / Chapter ´Ø --- "Analysis on ""Dark Haze´ح" --- p.25 / Chapter ´Ø --- """Dark Haze"" (Full Score)" --- p.28 / Chapter ´Ø --- "Analysis on ""San-Shui Xi-Nan""" --- p.65 / Chapter ´Ø --- """San -Shui Xi-Nan"" (Full Score)" --- p.69 / Chapter Part III： / Chapter ´Ø --- Biography --- p.119

In this thesis, I characterise five species of the bushcricket genus Mecopoda with respect to their acoustic signals and morphology and investigate the phenomenon of acoustic synchrony in one of these five species: Mecopoda ‘Chirper’. In several bushcricket species, individual males synchronise their chirps during acoustic interactions. Synchrony is imperfect and the chirps of the males lead or follow each other by a short duration of time. Imperfect synchrony is believed to have evolved in response to female preferences for leading chirps. This model of the evolution of acoustic synchrony, however, depends on assumptions about the physiological mechanism of acoustic interaction between individual males and also on the presence of selective attention to a restricted number of neighbours. Neither of these two assumptions has previously been investigated in the species Mecopoda ‘Chirper’ and the implications of these for the evolution of acoustic synchrony is unknown. Furthermore, the advantage of leading chirps for males in the field, given trade-offs between the advantages of lead and intensity and the spacing of males has not been investigated in any bushcricket. In this thesis, I address these questions using a combination of behaviour, neurophysiology and computer simulations. Five distinct song types of the genus Mecopoda were found in Southern India. Four were morphologically indistinguishable. Some of them were both sympatric and had synchronous breeding seasons. The songs of these five song types ranged from simple short chirps to highly complex songs with multiple components. The temporal patterns of the songs were very distinctive, whereas their spectral features were similar. Component elements of the different songs were distinct despite overall similarity. The song types possibly represent sibling species. The mechanism underlying synchrony in the species Mecopoda ‘Chirper’ differs from previously reported mechanisms in that it involves both a change in the oscillator’s intrinsic rate and resetting on a chirp-by-chirp basis. The form of the phase response curve differs from those of previously reported firefly and bushcricket species including the closely related Malaysian species Mecopoda elongaa. Simulations exploring oscillator properties showed that the outcome of pairwise interactions was independent of initial phase and alternation was not possible. Solo intrinsic chirp period was a relatively good predictor of leading probability. Changing the intrinsic period during interactions could, however, enable males with longer periods to lead during acoustic interactions. In choruses in the field, chirp period and hence lead probability of males had low repeatability with no consistent ‘leaders’ and ‘followers’ across nights. During acoustic interactions, sixty percent of followers called oftener when leaders were not calling. Spacing enabled some softer males to gain areas where they were the loudest of all males in a chorus. Thus followers in choruses potentially have different strategies at their disposal by which they could offset their disadvantage in attracting mates. In neurophysiological experiments investigating selective attention, louder, leading chirps were preferentially represented in the auditory system but the representation of softer following chirps was not completely abolished. Following chirps that were 20 decibels louder than leading chirps were better represented than leading chirps. During acoustic interactions in response to playback, males synchronised with leading chirps even when the following chirps were 20 dB louder. Males did not restrict their attention to louder chirps during interactions but were affected by all chirps above a particular threshold intensity . In the field, males on average had only one or two neighbours whose calls were above this threshold. Selective attention in this species is thus achieved through spacing rather than neurophysiological filtering of softer signals. A simulation that combined these results to investigate the evolution of synchrony, revealed that the strategy of responding to one’s neighbours and synchronising with them was able to invade a population of males that did not respond to their neighbours only upto a point. The responder strategy was also not evolutionarily stable and could be invaded by the non-responder strategy. In both cases, the population stabilised at a point where the number of males with either strategy were approximately equal. This was true even if a different physiological resetting mechanism was assumed. The results also held true across a range of male aggregation patterns and different possible female preference values for time-intensity trade-off and lead windows. Thus it appears that though a responder strategy can spread in a population up to a proportion of approximately 0.5, it cannot completely take over a population, if the only selective advantage to synchronising males is due to female preference for leading chirps.

The succeeding pages contain scores of my music—Passage to Kublb, Dalamhati ni Osang, Pintig, and Talibun-ag. "Passage to kublb" , for large orchestra, is a travelogue. Using a certain number of intervals, the instruments go through a journey, signifying life's constant changes and ceaseless motion. Melodic and rhythmic motives are used, fragmentation, and variation of timbral colors. "Kublb" is a fictional place; in essence, a destination of one's life journey. "Dalamhati ni Osang" (Lament of Osang) for a soprano, bass clarinet and marimba, is a composition revolving around a hextatonic scale which goes through a process of change as the music progresses. The text, written in the Filipino language, conveys the lament of a woman wanting to escape from her sorrows as she pleads her beloved to "lull" her; thus the repeated phrase "iduyan mo, o hirang" which means lull me or cradle me, my beloved. The woman's concept of "sleep" is an end-goal from which she frees herself of bitter memories of the past. The nuances of the vocal lines point to some native materials common to the Filipino "kundiman"(ballad). Use of expressive lines in legato phrasing, repeated sections (ABA form), and in some instances, use of embellishments like the repeated grace notes. The hextatonic scale is the composer's own material injected to some pre-formed structure already existing as in the mentioned ballad. "Pintig" (Pulses of Mother Earth) which was originally written for the "Elektra Women's Choir" during a pre-Christmas choral reading is a study of tribal vocables and different vocal effects. Stomping of foot, tapping, and other ritual sounds are employed to concoct an amalgam of primitive or earthy vista. (Note that the recording provided with this thesis is simply a reading session of the piece). "Talibun-ag " is a coined title from the Filipino words "tali" and "bun-ag" (bondage and birth) which if combined literally can mean "birth of freedom". This is a music drama for a chamber ensemble (piano, alto flute and percussions), a mono-dramatist and a choral quartet.