abstract: From Marathon to Athens was inspired by the legend of Pheidippides, a Greek messenger who ran approximately twenty-six miles between the cities of Marathon and Athens in ancient Greece to deliver an important wartime message. According to the legend, he died shortly after completing the journey. The marathon races of today were inspired by his story, though it may be more myth than reality. There is a great deal of inherent drama in the undertaking of such a feat, whether it be a marathon or any other test of strength and endurance. There is the rush of adrenaline when it begins, followed by the excitement and exhilaration of the first few miles. Then, there is a period of settling in and finding a groove - when the runner realizes that there is a long way to go, but is determined to pace him or herself and stay strong. All too often, there is the "wall" that appears about three-quarters of the way through, when it seems that there is no strength left to finish the race. Finally, there is the final push to the finish line - where the runner decides that they are going to make it, in spite of fatigue, pain, or any other obstacle. In this piece, I used a simple melody that was very loosely modeled after a melody from ancient Greece (the tune inscribed on the Epitaph of Seikilos). I used both Phrygian and Dorian modes, which, according to Plato, were most appropriate for soldiers. Throughout the piece, I used different instruments, mostly percussion, to represent the heartbeat of the runner. In the legend, the runner dies - in the piece, the heartbeat becomes very fast and then rather erratic. It then slows and, finally, stops. Though I find the story of Pheidippides inspiring, I wish all marathon runners and athletes of every kind (myself included) a safer and happier outcome! / Dissertation/Thesis / D.M.A. Music 2010

abstract: Delirium is a piece for large wind ensemble that synthesizes compositional techniques to generate unique juxtapositions of contrasting musical elements. The piece is about 8:30 long and uses the full complement of winds, brass, and percussion. Although the composition begins tonally, chromatic alterations gradually shift the melodic content outside of the tonal center. In addition to changes in the melody, octatonic, chromatic, and synthetic scales and quartal and quintal harmonies are progressively introduced throughout the piece to add color and create dissonance. Delirium contains four primary sections that are all related by chromatic mediant. The subdivisions of the first part create abrupt transitions between contrasting material, evocative of the symptoms of delirium. As each sub-section progresses, the A minor tonality of the opening gradually gives way to increased chromaticism and dissonance. The next area transitions to C minor and begins to feature octatonic scales, secundal harmonies, and chromatic flourishes more prominently. The full sound of the ensemble then drops to solo instruments in the third section, now in G# minor, where the elements of the previous section are built upon with the addition of synthetic scales and quartal harmonies. The last division, before the recapitulation of the opening material, provides a drastic change in atmosphere as the chromatic elements from before are removed and the tense sound of the quartal harmonies are replaced with quintal sonorities and a more tonal melody. The tonality of this final section is used to return to the opening material. After an incomplete recapitulation, the descending motive that is used throughout the piece, which can be found in measure 61 in the flutes, is inverted and layered by minor 3rds. This inverted figure builds to the same sonority found in measure138, before ending on an F# chord, a minor third away from the A minor tonal center of the opening and where the piece seems like it should end. / Dissertation/Thesis / Midi-generated audio recording / M.M. Music 2011

Thesis (M.S.)--Boston University

Thesis (D.M.A.)--Boston University

Thesis (M.M.)--Boston University

Thesis (M.M.)--Boston University

This composition portfolio comprises nine original compositions: Erebos (solo violin and chamber ensemble, 2014), Sisyphus Syndrome (clarinet in Bb and percussion, 2014), Aether (solo accordion, 2014), Aether II (brass band, 2014), Boreas (s.a.t.b chorus with soprano and tenor soloists, 2014), Eremos (flute choir and percussion, 2014), Helen (solo mezzo-soprano, solo cello, double chorus (s.a.t.b, s.a.t.b), 4 horns in F and timpani, 2015), Aphrodite Anadyomene (clarinet in Bb, violin, cello and piano, 2015) and Teotihuacan (symphony orchestra, 2016). This accompanying commentary discusses compositional concerns explored within the compositions. This includes an approach to creating binary oppositions, which is based upon a combination of Elliott Carters stratification techniques in combination with Lutoslawskis interval partitioning techniques. Additionally, approaches to creating musical drama and structural trajectory are explored. This includes drawing upon the structure of Greek tragedy by using Birtwistles Tragoedia as a starting point, juxtaposing and superimposing binary oppositions and using Stravinskian block structures. I also describe how my instrumental compositions have been influenced by electroacoustic music and describe a method of implementing Thoresens typology to plan and trigger textures and timbral ideas.

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<p> This doctoral document and accompanying lecture recital seek to illuminate and bring clarity to <i>aura</i> (2011) for three percussionists and <i>AURA</i> (2015) for four percussionists by Icelandic composer Anna Thorvaldsd&oacute;ttir. This composition is examined through a thorough musical and formal analysis to show that there is a guiding force to be found behind the sustained drones and complex bell themes of the piece. A performance guide to reduce the composition&rsquo;s logistical and musical challenges is included in the hopes that it will shorten the learning curve for a new ensemble as they learn the piece. It is this author&rsquo;s aim that this resource will make this composition accessible to a wider range of ensembles and thereby bring more exposure to the music of Anna Thorvaldsd&oacute;ttir. </p><p> In addition, biographical information and a survey of the composer&rsquo;s compositional process and style is included to increase the limited amount of scholarly research that currently exists on Dr. Thorvaldsd&oacute;ttir and her works.</p><p>

AN ABSTRACT OF THE THESIS OF Nick E. Zaczek, for the Master of Science degree in Forestry, presented on March 22nd, 2013, at Southern Illinois University Carbondale. TITLE: FOREST COMMUNITY COMPOSITION ON MESIC SITES IN NORTHERN WISCONSIN MAJOR PROFESSOR: Dr. Eric Holzmueller Prior to the passing of strict fire suppression laws in the late 1920s, the forests of Northern Wisconsin had been intensively harvested and burnt, producing a variety of successional forest community types. In this study successional patterns were examined in forest communities on mesic soils across the region. Stands were sampled using 0.4 ha nested plots for mature overstory trees and 0.004 ha for saplings and 0.002 ha for seedlings for the understory immature stems. Forest community types were organized by classification and multivariate analysis. Comparison of overstory, midstory, and understory species were made and stepwise linear regression was used to determine to what degree eleven soil characteristics were responsible for the occurrence/density of any of the species within the different community types. The six forest community types identified on the mesic soils were Balsam Fir, Bigtooth Aspen, Paper Birch, Quaking Aspen, Red Maple, and Sugar Maple. The first four communities were found on soils containing more than 72% sand and have similar understory conditions dominated by Abies balsamea and A. rubrum with little or no regeneration of the dominant overstory species. These four communities are dominated by species that require disturbances such as fire and/or harvesting to maintain their heterogeneity. The Red Maple and Sugar Maple communities are found on soils containing 65% or less sand. The understory of these two community types is dominated by A. rubrum, A. saccharum, and A. balsamea. It appears that endpoint or a steady-state community has developed on the mesic forest stands, given that no major disturbance occurs, is a convergence of a community of A. balsamea, A. rubrum, A. saccharum, and associated species. A convergence to a forest community dominated by these species poses several concerns to forest and ecosystem health and diversity if no management actions are taken. These species have very little wildlife value and more importantly an increasing density of A. balsamea has the potential to out-compete other species as well as increase the risk of a catastrophic and even stand replacing fire.