In my years as a composer, I’ve had a great fascination with the concept of juxtaposition and superimposition of various moods and styles of music. Although I’d written many pieces before thesis, I had yet to examine the results of this polarization in music. Thus, the purpose of this present composition was to explore contrasting musical elements while combining them in a coherent, competent manner. To begin, I chose two differing instrumentations of which to amalgamate: strings and percussion. música dramática exploits the different timbres and colors of the instruments and presents them by a uniform method. Musical elements of the piece such as style, mood, harmony, melody, rhythm, tempo, register, and dynamics all work together in order to conform to a single composition no matter how jarring the differences may be. Altogether, the various elements of this single movement work for string orchestra and percussion were fused to create a well-balanced, well-proportioned piece of music. The results were spectacular: regardless of the extreme differences in the many factors of music, one coherent composition was formed. In música dramática, this single idea is brought to fruition. / text

Acidulants can contribute considerably to the flavor of food. However, limited research on differences in acid flavor exists. While numerous researchers have studied acids, most have focused on sourness exclusively. Acids have been shown previously to differ in non-sour components, such as bitterness and astringency. A series of experiments were conducted to determine flavor characteristics of selected acids in different systems. First, selected acids (lactic, malic, citric, acetic) and 2 acid blends (lactic/acetic 1:1 and 2:1) in a model (water) system were evaluated on an equivalent weight (0.2% w/v) and on an equivalent pH basis. Three pH levels were explored: 3.5, 4.5 and 6.5. The technique of free-choice profiling was applied to characterize the flavor profile. Results analyzed by generalized procrustes analysis showed two significant findings: (1) acids differ in sensory character, and (2) the flavor of an acid changes with pH. Second, selected acids (lactic, malic, citric, tartaric) were evaluated in sweetened, flavored drinks on an equivalent weight basis at two concentrations (0.4 and 0.6% w/v). Four flavors were evaluated: orange, cherry, cola and strawberry. Descriptive analysis was used, and the data was analyzed by principal component analysis. Significant differences were found on among acids and concentrations. For the orange flavor system, citric acid enhanced the orange flavor of the drink. Third, selected acids (lactic, citric, acetic) and 2 acid blends (acetic/lactic 1:1 and 2:1) were evaluated in emulsions on an equivalent pH basis. Three pH levels were explored: 3.5, 4.5 and 5.5. These findings support the first study as differences were found among acids, and flavor changes existed when pH changed. / Graduation date: 1995

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The original composition Bombasticism: Concerto for Four Percussion and Large Orchestra seeks to expand percussion ensemble literature, to the extent that the percussion quartet unites with the symphony orchestra in atypical fashion. This percussion quartet explores both expanded instrumentation as well as creates a homogenous new sound that suggests the importance of the percussion instrumentation collectively with wind and string instruments. Bombasticism diverges from traditional concerto by offering differing levels of soloist within the percussion quartet. The different levels of solo performance include; individual soloists in contrast to the percussion quartet, individual soloists layered within the percussion quartet in contrast to the orchestra, and the percussion quartet acting as a collective soloist in contrast to the full symphony orchestra. The percussion voice in Bombasticism shows wide variety not only as a rhythmic machine, but also plays an important melodic and harmonic role through the composition. Throughout the work, the percussion family contributes a complete array of sound to the composition in every aspect of musical language. Bombasticism is written in three movements. Each movement differs from the next in instrumentation, tempo, rhythmic intent, and pitch centers. The first movement, Skins, spotlight percussion instruments with drum heads. The timpani and roto-tom soloists will perform on pitched instruments, and the snare drum and bass drum soloists will perform on non-pitched instruments during the movement. Along with this instrumentation awareness, the primary compositional focus is rhythm. The second movement, Metal & Wood, utilizes percussion instruments that are made of metal or wood only. Pitched instruments include marimba, xylophone, glockenspiel, vibraphone, and chimes. Nonpitched instruments involved are woodblock, anvil, cymbals, and hi-hat. The primary focus of this movement is the exploration of various approaches to tonality. The third movement, Tutti Causatum, incorporates all the percussion instruments used in the first two movements. This movement is the most rhythmically active, as most of the movement is based on the groupings of two, three, and four sixteenth notes. Tutti Causatum is the final telling of how Bombasticism mingles all the timbres of the percussion family to create a balance and unity within the orchestra.

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