Thesis (Ph.D.)--Indiana University, Dept. of Communication and Culture, 2009. / Title from PDF t.p. (viewed on Feb. 3, 2010). Source: Dissertation Abstracts International, Volume: 70-04, Section: A, page: 1266. Adviser: Robert L. Ivie.

Thesis (Ph. D.)--University of California, San Diego, 2009. / Title from 1st page of PDF file (viewed Feb. 9, 2010). Available via ProQuest Digital Dissertations. Vita. Includes sound files of examples in 44K stereo. and 96K formats. Includes bibliographical references: P. 143.

Thesis (Ph. D.)--University of California, San Diego, 2004. / Vita. Includes bibliographical references (p. 279-302).

Thesis (Ph. D.)--University of Texas at Austin, 1984. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 225-228).

Thesis (Ed. D.)--West Virginia University, 2001. / Title from document title page. Document formatted into pages; contains viii, 159 p. : ill. (some col.), music. Includes fifteen songs in the mp3 format. Vita. Includes abstract. Includes bibliographical references (p. 135-142).

Thesis (D.M.A.)--University of North Texas, 2003. / Score of concerto: p. 76-140. Duration: ca. 22:00. Includes bibliographical references (p. 74-75).

Thesis (M.A.)--York University, 2001. Graduate Programme in Music. / Typescript. Includes full scores for the author's 5 compositions (5 lines assembled ; Old ; North ; West ; and Tial) along with their pictorial representations. Includes bibliographical references (leaves [64-68]). Discography: leaf [69]. Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pMQ66398

Thesis (M. Phil.)--University of Hong Kong, 2002. / Includes bibliographical references (leaves 51-52).

As a means of musical elaboration, improvisation takes an important role in different musical genres. From impromptus and rhapsody, to traditional music such as Javanese gamelan and Cantonese opera, improvisation shapes the distinctive features of musical works, and how composition takes on the features of improvisation. Despite the distinctive modes of improvisation in accordance with specific musical conventions, such improvisation share a common ground that it does not arise from nothing but comprises something memorized or given. Improvisation can be regarded as a spontaneous creativity within constraints and convention. Composers, therefore, can explore the performance techniques of different musical instruments and the creative possibilities within certain musical conventions through the use of improvisation from time to time. In this thesis, I seek to explore how improvisation as being operated within constraints and convention through a portfolio of three compositions. Each composition features one or two particular instruments in the improvisatory passage, i.e., sheng (Opera From a Forgotten Land), piano and flute (Improvisation Study no. 1) and electronic bass guitar (Improvisation Study no. 2). Considering the differences in the adhered musical culture and performance practice of these instruments, I shall explain the rationales behind my composition strategy. / published_or_final_version / Music / Master / Master of Philosophy

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