Thesis (Ph.D.)--Bowling Green State University, 2006. / Document formatted into pages; contains viii, 226 p. Includes bibliographical references.

Thesis (M.A.)--York University, 2005. Graduate Programme in Music. / Typescript. Includes bibliographical references. Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url%5Fver=Z39.88-2004&res%5Fdat=xri:pqdiss &rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR11820

Thesis (Ph. D.)--Illinois State University, 2006. / Title from title page screen, viewed on May 11, 2007. Dissertation Committee: Janice W. Neuleib (chair), Douglas D. Hesse, Julie M. Jung. Includes bibliographical references (leaves 171-184) and abstract. Also available in print.

No description available.

Diss.--Phil.-Fak.--Köln--Univ., 1999. / Liste des oeuvres p. 440-442. Bibliogr. p. 449-468.

Diss.--Phil. Fak.--Cologne, 1988. / Contient la liste des oeuvres de K. Stockhausen. Bibliogr. p. 259-262. Index.

Thesis (MNutr)--University of Stellenbosch, 2008. / Bibliography. Also available via the Internet.

Texte remanié de: Thesis--Exeter, 1991. / Bibliogr. p. 323-329. Index.

This thesis centres on an examination of the music and commentary of Thomas Adès. Though academics and journalists alike have noted the importance of Adès's programmatic descriptions, there is little work that considers his music alongside his commentary. Reinforcing this split is the notion that Adès is not merely reticent but also deliberately misleading: Service (2012) notes the way in which Adès wittily plays with his questions in interview whilst Fox (2004) suspects the composer of being knowingly naïve when outlining his approach to Brahms and the Piano Quintet. Venn (2006) has investigated the relationship between the discourse stemming from Asyla's title and the music, concluding that 'the notion of asylum inspires the musical processes only in an abstract manner, if at all'. However, examining the music alongside his commentary can uncover valuable insights into his music and enrich our experience of the work. I shall explore the two of his works, Polaris (2010) and Living Toys (1993) and their programmatic discourse in order to demonstrate how it can be understood as part of the work. Thomas Adès, builds up elaborate conceptual metaphors which I shall explore through Facounnier and Turner's theory of Conceptual Blending. It is my position that, rather than understanding programmatic discourse as an explanation or translation of Adès's music, it is more fruitful to view it as an extension of the compositional process, and an active part of the work. The final part of this paper relates the issues found in the thesis to my own composition portfolio. The portfolio of compositions comprises three pieces: Round Trips: Three Pieces for Oboe and Cello; Foreboding, for chamber ensemble; and A Reflection Di(still)ed for string quartet. Though these pieces are distinct, they collectively seek to explore ways of integrating programmatic discourse into the work. This is especially true of the largest piece Round Trips which comprises three movements which develop two conflicting strands of conceptual metaphors.

This portfolio of compositions researches the use of DNA sequences as a system for music composition. The main objective is to identify and create musical expression using sequences of DNA, which carry embedded structure and organisation. An effective model of DNA sonification was implemented through the use of a Parameter Mapping Sonification Interface that can obtain a musical rendering of the genetic material through the replication of different stages of DNA coding. In this way the composer could make compositional decisions a priori in mapping musical parameters (musification), and make use of sonification as a tool in order to successfully generate, organise and develop musical material in a compositional system based on DNA and RNA sequences. This is in contrast to a hard scientific sonification perspective, where unedited outputs are presented as a musical composition. As a result, the portfolio provides an intelligible corpus of music that integrates science, literature, cultural heritage and the social sphere in order to deliver my musical discourse. Nine compositions are presented in the portfolio, each of these explores the use of sonification and musification as a compositional tool to generate and organise musical materials.