This essay offers both a historical analysis of twentieth century avant-garde practices relating to representation in music, and a prescriptive model for contemporary methods of composition. I address the taxonomy problem in classical music, clarifying the ontological divide identified by German musicologist Michael Rebhahn Contemporary Classical music and New Music. I demonstrate how neoliberalism has developed a Global Style (Foster 2012) of "Light Modernity,” evident in both contemporary architecture and music alike. The central problem facing composition today is the fetishization of materials, ultimately derived from music's refusal to allow the question of representation to be addressed. I argue that composers have largely sought to define noise as sound-in-itself, eliminating the possibilities of representation in the process. Proposing instead that composers should strive to tackle representation head-on in the 21st century, I show how Jacques Rancière provides a model in which noise and sound—representation and abstraction—function in a conjoined, yet non-homogenized aesthetic regime. Governed by what he calls the "pensiveness of the image,” it allows for a renewed art form that rejects repetition and neoliberalism, re-connecting to the spirit of the avant-garde without slavishly echoing either its outmoded aesthetics or dogmatic philosophies.

The musical portion of this dissertation is comprised of my two compositions: Agnosco Veteris, a fifteen-and-a-half-minute work for orchestra, written in 2015 for Robert Spano and the Aspen Philharmonic Orchestra; and its partner and template Vestigia Flammae, a fourteen-minute work for sinfonietta (fifteen musicians) written in 2014 for the Nouvel Ensemble Modern. The written portion of this dissertation is an accompanying essay that provides a conceptual and musical analysis of the partnered pieces. The essay situates the compositions within the context of my recent musical output by specifically focusing on a method I have heartily employed from 2011-16: the reuse of musical/sonic material through repetition, computer-aided manipulation, reorchestration, composed reinterpretation, and self-appropriation. Agnosco Veteris and Vestigia Flammae are partner works that engage with personal musical memories. I explain the desires behind, and the process of, transforming one piece into another. A section of the essay places this concept in the historical context of other composers who employ appropriation of material and methods of reorchestration to generate new works. I discuss my compositional process and style as an alloy of my musical genetic makeup – a mixing ground of my experience as a performer of the classical canon in dialogue with my affinity towards minimalism, modernism, romanticism, spectralism, Slavic folk and liturgical musics, electronic music, and popular music production techniques. The latter portion of the essay provides a theoretical analysis of the two pieces in terms of poetic genesis, form, motivic material, harmonic structure, orchestration, texture, and rhythmic development.

Microtonal pitch systems have musical implications beyond the organization of pitch, suggesting the possibility of functioning symbiotically with orchestration, rhythm, and form in a musical work. This essay focuses on three compositions, each of which approaches tuning and microtonality in a unique way: The Delusion of the Fury (1969) by Harry Partch, Limited Approximations (2010) by Georg Friedrich Haas, and Asking Ocean (2016) by Marc Sabat. After a general analysis of the pitch materials in these three works, passages of music are examined and compared to illustrate how pitch systems, especially those in extended just intonation, inform orchestration, rhythm, and form, exploring how these composers balance the practical considerations of writing microtonal music with artistic intent. This essay argues that the success of these three works relates to a sensitivity toward the limitations and possibilities of their novel approaches to microtonal pitch organization.

Lau Wing-Sze. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2004. / Includes bibliographical references (leaves 131-149). / Abstracts in English and Chinese. / Acknowledgements --- p.i / Abstract --- p.ii / Abstract (Chinese version) --- p.iv / Table of Contents --- p.vi / List of Tables --- p.x / List of Figures --- p.xii / List of Abbreviations --- p.xiv / Chapter Chapter One: --- An overview of Vigna sinensis seeds / Chapter 1.1 --- Introduction --- p.1 / Chapter 1.2 --- Food and functional food --- p.2 / Chapter 1.3 --- Edible legumes as an important food --- p.4 / Chapter 1.4 --- Nutritional an extra-nutritional values of V. sinensis seeds --- p.5 / Chapter Chapter Two: --- Purification of phenolic antioxidants from V. sinensis seeds / Chapter 2.1 --- Introduction --- p.11 / Chapter 2.1.1 --- Reactive oxygen species and antioxidants --- p.12 / Chapter 2.1.2 --- Phenolic flavonoids --- p.15 / Chapter 2.2 --- Materials and Methods / Chapter 2.2.1 --- Chemicals and reagents --- p.24 / Chapter 2.2.2 --- Plant material --- p.25 / Chapter 2.2.3 --- Optimization and extraction of V. sinensis seeds constituents --- p.25 / Chapter 2.2.4 --- Chromatographic separation of phenolic components --- p.26 / Chapter 2.2.5 --- Determination of phenolic contents --- p.27 / Chapter 2.2.6 --- Determination of free radical scavenging ability using trolox equivalent antioxidant capacity (TEAC) assay --- p.28 / Chapter 2.2.7 --- Statistical analysis --- p.29 / Chapter 2.3 --- Results and Discussion / Chapter 2.3.1 --- Optimization on the extraction of V. sinensis seeds --- p.30 / Chapter 2.3.2 --- Extraction and fractionation of V. sinensis seeds constituents --- p.31 / Chapter 2.3.3 --- Yield of various V sinensis seed fractions --- p.31 / Chapter 2.3.4 --- Phenolic contents in various V. sinensis seed fractions --- p.32 / Chapter 2.3.5 --- Free radical scavenging abilities of various V sinensis seed fractions --- p.33 / Chapter Chapter Three: --- Effect of V. sinensis seed extract on high fat and cholesterol - feeding mice / Chapter 3.1 --- Introduction --- p.41 / Chapter 3.1.1 --- Cholesterol in bloodstream circulation --- p.42 / Chapter 3.1.2 --- "Relationship between LDL oxidation, atherosclerosis and coronary heart disease" --- p.43 / Chapter 3.1.3 --- Diet supplements with beneficial effects on preventing coronary heart disease --- p.44 / Chapter 3.2 --- Materials and Methods --- p.47 / Chapter 3.2.1 --- Chemicals and reagents --- p.47 / Chapter 3.2.2 --- Preparation of diets --- p.48 / Chapter 3.2.3 --- Animals --- p.48 / Chapter 3.2.4 --- Feeding experiments --- p.49 / Chapter 3.2.5 --- Post-feeding analysis --- p.50 / Chapter 3.2.5.1 --- Caecal content and health indices --- p.50 / Chapter 3.2.5.2 --- Serum triglycerides --- p.51 / Chapter 3.2.5.3 --- Serum total cholesterol --- p.52 / Chapter 3.2.5.4 --- High-density lipoprotein (HDL) cholesterol --- p.53 / Chapter 3.2.5.5 --- Low-density lipoprotein (LDL) cholesterol --- p.54 / Chapter 3.2.5.6 --- Hepatic lipid and cholesterol --- p.55 / Chapter 3.2.6 --- Statistical analysis --- p.55 / Chapter 3.3 --- Results and Discussion --- p.56 / Chapter 3.3.1 --- Food intakes and body weights of animals --- p.56 / Chapter 3.3.2 --- Caecal contents and health indices --- p.56 / Chapter 3.3.3 --- Effects of V sinensis seed extract on serum and hepatic levels of triglycerides and cholesterol --- p.57 / Chapter Chapter Four: --- Antiproliferative activities of V. sinensis seed extracts / Chapter 4.1 --- Introduction --- p.66 / Chapter 4.1.1 --- Cancer and antioxidant --- p.67 / Chapter 4.1.2 --- Dietary cancer prevention agents --- p.68 / Chapter 4.2 --- Materials and Methods --- p.71 / Chapter 4.2.1 --- Chemicals and reagents --- p.71 / Chapter 4.2.2 --- Cell lines --- p.71 / Chapter 4.2.3 --- Maintenance of cell lines --- p.72 / Chapter 4.2.4 --- Antiproliferation assays --- p.73 / Chapter 4.2.4.1 --- MTT assay --- p.73 / Chapter 4.2.4.2 --- BrdU assay --- p.73 / Chapter 4.2.5 --- Cytotoxic activity determined by lactate dehydrogenase (LDH) assay --- p.77 / Chapter 4.2.6 --- Time-course assay --- p.79 / Chapter 4.2.7 --- Determination of IC50 --- p.79 / Chapter 4.2.8 --- Statistical analysis --- p.79 / Chapter 4.3 --- Results and Discussion --- p.80 / Chapter 4.3.1 --- Antiproliferative activities of V. sinensis seed extracts on HepG2 cells --- p.80 / Chapter 4.3.2 --- Cytotoxic activities of V. sinensis seed extracts on HepG2 cells --- p.82 / Chapter 4.3.3 --- Antiproliferative activities of phenolic fraction on MCF-7cells --- p.83 / Chapter 4.3.4 --- Cytotoxic activity of phenolic fraction on MCF-7 cells --- p.84 / Chapter 4.3.5 --- Time-course study of antiproliferative activities of phenolic fraction on cancer cells --- p.85 / Chapter 4.3.6 --- Effect of phenolic fraction on normal cells --- p.86 / Chapter Chapter Five: --- Antioxidant and antiproliferative activities of selected content flavonoids from V. sinensis seeds / Chapter 5.1 --- Introduction --- p.93 / Chapter 5.1.1 --- Cell cycle progression and regulation --- p.94 / Chapter 5.1.2 --- Bioavailability of plant flavonoids --- p.96 / Chapter 5.1.3 --- Characterization of flavonoids in V. sinensis seed --- p.98 / Chapter 5.2 --- Materials and Methods --- p.102 / Chapter 5.2.1 --- Chemicals and reagents --- p.102 / Chapter 5.2.2 --- Determination of free radical scavenging ability of identified flavonoids from V sinensis seeds using trolox equivalent antioxidant capacity (TEAC) assay --- p.103 / Chapter 5.2.3 --- Antiproliferation assays --- p.104 / Chapter 5.2.4 --- Cytotoxicity assay --- p.104 / Chapter 5.2.5 --- Time-course assay --- p.104 / Chapter 5.2.6 --- Determination of cell cycle distribution by flow cytometry --- p.105 / Chapter 5.2.7 --- Statistical analysis --- p.106 / Chapter 5.3 --- Results and Discussion --- p.107 / Chapter 5.3.1 --- Free radical scavenging abilities of identified flavonoids from V sinensis seeds --- p.107 / Chapter 5.3.2 --- Antiproliferative activities of selected flavonoids on cancer cells --- p.109 / Chapter 5.3.3 --- Cytotoxic activities of selected flavonoids on cancer cells --- p.111 / Chapter 5.3.4 --- Time -course study of antiproliferative activities on cancer cells --- p.112 / Chapter 5.3.5 --- Cytotoxic activities of selected flavonoids on normal cells --- p.114 / Chapter 5.3.6 --- Determination of the effects of cyanidin on cancer cells by analyzing cell cycle pattern --- p.115 / Chapter Chapter Six: --- Conclusion --- p.128 / References --- p.131

abstract: In 2006, composer James DeMars conceived of an opera when he began setting the Aztec legend known as Nican Mopohua, the “legend of Guadalupe.” Many inherent challenges arose as DeMars began to compose his first opera. His unfamiliarity with operatic writing and production, a preference for the aural elements of opera over visual ones, inexperience with dramatic textual writing, and insecurity in his ability to have it produced, encouraged him to detour from his operatic vision altogether and instead write an oratorio. Yet, his original operatic concept revealed itself through the music and text enough to encourage him and others to believe that his oratorio, Guadalupe: Our Lady of the Roses, could be produced on the operatic stage. Despite the oratorio’s success, DeMars persisted in realizing his original operatic vision and began the arduous task of rewriting his opera in 2012. To overcome the challenges, he relied heavily on the input of an “Operatic Advisory Council.” This group of dedicated colleagues and experts in the field of opera revealed to DeMars certain essential elements of opera that were absent from the oratorio, and through the course of three years advised and instructed the composer as he transformed his oratorio into an opera – something rarely attempted in the operatic repertoire. In this document, Chapter 1 discusses the formation of the Council, its members, and the expertise they offered. Chapter 2 presents the areas of concern the Council had during the process. Chapter 3 discusses the methods by which DeMars rectified the flaws in the oratorio’s visual aspects, the vocal writing, and the dramatic elements that needed attention. It also presents musical and textual examples of the adjustments and additions DeMars made during the transition, and discusses their effect on the opera’s staging, vocal writing and drama. The changes DeMars made under the guidance of the Operatic Advisory Council ultimately resulted in an operatic version of Guadalupe, which premiered at Arizona State University in November 2015. / Dissertation/Thesis / Doctoral Dissertation Music 2018

abstract: Sonata No. 2 in B-flat Major is a work for trumpet and piano. It is composed in the romantic tradition and is thirty minutes in length. Trumpet chamber repertoire has increased dramatically in the past century, but few new works are representative of the harmonic language or extended forms of the late romantic tradition. The first movement, “Allegro con spirito,” is in sonata form with fantasy qualities allowing the exposition to meld with the development. The primary theme in 3/4 meter develops a neighbor-tone motive; in contrast, the second theme in 4/4 (in the same tempo) is more lyric in nature. In the development, the juxtaposition of these themes provides changing meters and opportunity for dramatic tension. The bold and metric nature of the first movement is contrasted with the slow, more lyric second movement, “Dolce e sensibile,” (Sweet and sensitive, pg. 22). This movement in E-flat major is in sonata form and encourages a more expressive, rubato interpretation. The second theme of the first movement shares a similar falling gesture as the themes of the second movement, but are different in their expressive qualities. The third movement (“Grave et lento”) is played attacca and begins with a transition from the ideas of the second movement (pg. 30). The dissonant harmonies and low register of the piano solo create an ominous atmosphere which mutates to the bold nature of the first movement. The remainder of the third movement is a seven-part Rondo. The primary theme (m. 20, pg. 31) is derived from a theme from the development of the first movement (m. 210, pg. 12). The C section of the rondo (m. 118, pg. 40) develops the opening theme of the third movement and leads to the primary theme in B-flat major. The final A section of the rondo is piu mosso with the primary theme in a compound meter providing a coda for the entire work. / Dissertation/Thesis / Masters Thesis Music 2018

The following document presents my dissertation composition. The work is written for eight performers, including flute, clarinet, saxophone, French horn, percussion, violin, viola, and Double Bass. The duration of the piece is approximately sixteen minutes, in a single movement. This composition explores forms of discontinuity within continuous textures, and includes particular theatrical and staging elements.

Through linguistic abilities, our brain can comprehend and produce an infinite number of new sentences constructed from a finite set of words. Although recent research has uncovered the neural representation of semantics during comprehension of isolated words or adjective-noun phrases, the neural representation of the words during utterance planning is less understood. We apply existing machine learning methods to Magnetoencephalography (MEG) data recorded during a picture naming experiment, and predict the semantic properties of uttered words before they are said. We explore the representation of concepts over time, under controlled tasks, with varying compositional requirements. Our results imply that there is enough information in brain activity recorded by MEG to decode the semantic properties of the words during utterance planning. Also, we observe a gradual improvement in the semantic decoding of the first uttered word, as the participant is about to say it. Finally, we show that, compared to non-compositional tasks, planning to compose an adjective-noun phrase is associated with an enhanced and sustained representation of the noun. Our results on the neural mechanisms of basic compositional structures are a small step towards the theory of language in the brain. / Graduate

Typescript. / Digitized by Kansas Correctional Industries

This paper discusses my thesis piece Dear...,. It describes how the piece was put together and the deeper symbolism of aspects of the music.