Treatise (D.M.A.) Florida State University, 2005. / Advisor: Douglas Fisher, Florida State University, College of Music. Title and description from dissertation home page (viewed 6-21-07). Document formatted into pages; contains 33 pages. Includes biographical sketch. Includes bibliographical references.

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This study was designed to portray some of the personal attributes of Emma Lou Diemer, a contemporary composer, and to describe her compositional processes and products through videotaped interviews. Over a two year period and during five days of interviews and discussion, Dr. Diemer and this writer developed a rapport allowing the composer to reveal insights into her attitudes about music composition and her methods and techniques for composing. The writer then prepared and edited the videotaped interviews specifically for the following purposes:1. to provide insight into Emma Lou Diemer's philosophy of music composition2. to offer first-hand commentary on two of her own compositions3. to give composers and conductors insight, in Dr. Diemer's own words, into her compositional processes.The two videotapes central to this study provide visual records of the discussions of the composer at work, thereby allowing viewers access to her original comments, facial expressions, conversational nuances, and humor. The tapes show Dr. Diemer's energy, vitality, and sense of purpose as she continues to seek creative channels within her chosen field of composition.The videotapes are supported by a written document containing background information, related literature, and a biography of Emma Lou Diemer. Chapter four contains the narratives of the videotaped interviews and a discussion of two of Diemer's compositions, "There is a Mom Unseen" and "To Come So." The final chapter includes a summary and recommendations for further research.The writer recommends the use of videotape for recording interviews with contemporary composers; this medium was an effective tool for this study. Suggested procedures include: the recording of a composer's perspectives on interpretations of his/her compositions, recording of composing techniques, videotaping of the composer as performer or conductor, and videotaping of related performances of a composer's works by selected individuals and groups.Suggested audiences for the videotapes prepared for this study are: 1. university composition classes;2. conductors preparing to present compositions by Emma Lou Diemer in concert;3. high school groups looking at composition as a career;4. individuals who wish to study Dr. Diemer's compositional processes and style. / School of Music

Thesis (doctoral)--Universität und Universität für Musik und Darstellende Künste, Wien, 2004. / Includes bibliographical references (p. 287-295) and index.

Thesis (D.M.A.)--Louisiana State University, Baton Rouge, 2005. / Includes bibliographical references (p. 92-94).

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This study traces the stylistic development of the string quartets. The opening chapter shows the way that his personal idiom emerged in the earliest works. It also explains the analytical approach that has been used. The concept of symmetrical orderings fusing separate elements has been evident in music from all stages of Bridge's output. Overall tonal relationships have linked with inner tonal relationships as well as thematic ideas and chord structures. In addition, symmetry has drawn together the two aspects of Bridge's language, the traditional and the radical, and shown how the way that they are balanced is subtly changed in the course of his development as a composer. The music is explained from two approaches to symmetry, linear and circular. The ascending chromatic scale can be divided symmetrically by a number of intervals, notably seconds and thirds and tritones. Symmetrical orderings of two or more of these intervals are commonly found. The twelve semitones can also be arranged as a circle of fifths and it is this that has been most significant to the study. By adding tonal definition to these pitches, the circle of fifths explains this aspect of the music and also how certain pitches are interchangeable with one another. Therefore, the circle of fifths has also been a useful tool in explaining Bridge's concept of extended tonality. The main part of the study discusses the second and third quartets in depth as they represent the peak of Bridge's creative output and are at the centre of important stylistic changes. The final chapter briefly shows the way that his language continued to develop in the abandoned work and the fourth, and last. quartet.