This composition, a three-movement work requiring a performance time of approximately thirteen minutes, is scored for Bb trumpet, percussion and string orchestra. A two-piano arrangement of the string orchestra section of the score is included in the work.

The instrumentation is flute, B-flat clarinet, bassoon, violin, viola, and cello. The individual movements last four and one-half, four, and six minutes, respectively, with a total duration of fourteen and one-half minutes. The first movement is a theme and a series of nine sections that employ the variation principle. The second movement is characterized by its slow tempo and by its texture which is almost entirely homophonic. It is primarily concerned with gradual timbral changes created by special effects. The third movement, which is rapid in tempo, employs one main theme which provides four motives. This material is developed throughout the movement by frequent changes in meter, range, texture, and dynamics.

The form of the movement is as follows: Slow introduction; forceful theme "A"; lyrical theme "B"; bridge between second theme and development section; development of theme "B"; another bridge developed from a fragment introduced immediately preceding the bridge which is used for a climax before theme "C" is introduced and developed. with the end of the development of theme "C", the development section ends, and thus begins the recapitulation of themes "B" and "A" in that order with little variation in either from that of the exposition. Theme "C", since it played such an integral part in the development section, is not brought back in the recapitulation.

This dissertation proposes a new speculative model for understanding how a listener attends to music. I rely on and build upon concepts already familiar to music theorists, such as Grouping Theory, Implication-Realization Theory, and Gestalt Theory. I also borrow concepts from Information Theory, which is sourced in mathematics and used in communication transmissions. With the confluence of the aforementioned I will explain the model I name Dynamic Grouping. The dynamism of the grouping process is owed to the listener’s changing expectation for what musical content the listener expects and when the subject expects it. A listener expects continuation of a delineation. I will describe the particular listener for whom this theory applies. A listener establishes delineation between points of congruity as recognized per each basic domain, which then serves to precipitate expectation for progressive continuation of such content along the same musical delineation. The temporal point and syntactical relations for when the subject expects this musical content to occur is derived from extrapolations of syntactical and temporal regularities (rhythm) sourced from previous groupings. Unlike the five basic domains that form delineations independently, of which I list pitch, timbre, dissonance, volume, and location, rhythm is a super domain because rhythmic delineations are formed sourcing any combination of the basic domains. But because the listener also recognizes syntactical regularities, rhythm is a super meta domain: a listener recognizes patterns of patterns. The temporal size of each group increases when preceding music offers realization of a listener’s expectation and decreases in size when it stymies expectation. I correlate patterns of dynamic grouping rhythm and dramatic moments in music. I explain means by which a listener will delineate music per each of the domains, as delineation per each domain is achieved differently. I offer a bottom-up analysis of the basic domains for a movement from a Beethoven Symphony. I use pop music to show how my theory for delineation formation also applies for rhythm. This single theory sufficiently accounts for much of what we witness in the music of the Common Practice Period. I also propose means by which composers may explore other means for creating drama not commonly used in current practice. My engagement with music cognition scholarship herein is limited to the specific confines of the theory. I chose a variety of musical examples for use in the paper. I include two Beethoven symphonies because they, in particular, are most often found in similar theoretical writings. For many of my musical choices that are meant to explicate most poignantly theories of rhythm I turn often to American Popular Music. I am familiar with the controversial lyrics of The Rolling Stones’s song, but I assure the reader that I will only cover the opening guitar riff and its immediate development through the introduction. / Music Theory / Accompanied by one .pdf score: 1) Cello Concerto #2

This five movement cantata is scored for large SATB chorus, bass and soprano soloists, piano, organ, and percussion (2 players). The text, sung in Hebrew, comprises selections from the Psalms, Isaiah, and the Jewish daily prayer book. A transliteration into the Roman alphabet and an English translation (not for singing) are provided.

Nonet for Percussion and Tape is a twenty-two minute through-composed work for eight percussionists and tape. The instrumentation includes: marimba, xylophone, glass wind chimes, slit drum, woodblock, vibraphone, crotales, metal wind chimes, snare drum, bass drum, tom-toms, temple blocks, bass marimba, log drum, cowbells, medium suspended cymbal, gongs, timbales, bongos, tambourine, roto-toms, timpani, and pre-recorded computer-generated/computer-sampled sound.

No description available.

No description available.

No description available.

Vita. / Digitized by Kansas Correctional Industries