What’s Left Over is based on passages from Bessel van der Kolk's "The Body Keeps the Score," which discusses the long-term effects that early-life traumatic incidents can have on both body and brain. Decay periods and sympathetic resonances are explored on both minute and structural levels reflecting remnants and fragments that may linger for years after an incident has occurred.

Moondust is a piece for Flute, Oboe, Clarinet in B flat (doubling Bass clarinet), Horn in F, Trumpet in C, Trombone, Percussion, Piano, Violin, Viola, Cello, and Double Bass. Moondust means lunar soil. In this piece, however, it symbolizes the illusion or fantasy of what we admire and yearn more than the existence in reality.

This piece is a projection of my first transpacific flight experience, from Korea to the United States. Every flight is somewhat frightening and bizarre to me, but this long flight was quite exceptional. I used to be emotional, and a lot of anxiety and self-reflection possessed me. However, this time, crossing the vast indigo ocean, I almost burst into tears of loneliness and nervousness, thinking about my unstable life path and the land I do not know. However, this flight was too long to be fragile. I prayed, ate meals, searched for travel information, studied scores, watched movies, observed people, listened to the music and noise inside the airplane, and composed a new piece. After all, life went on, even at 36,000 feet in the air.

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Includes bibliographical references. / This study presents a musical analysis using a process of pitch mapping. Pitch rows are presented graphically to demonstrate the visual design of the music. Description of the process is preceded by a discussion of some of the historical, and philosophical factors that are relevant to the development of Pärt’s tintinnabuli music. The musical and political history of Estonia and some of its other composers are presented as an important resource for understanding Pärt’s music. The use of proportions and formulas in the music is presented as being connected to a long line of similar practice in the fields of music, mathematics, physics and astronomy that has been used in the pursuit of an understanding of the Universe. Although informed by an extensive depth of spirituality, research and construction, the music remains an intensely personal expression of the composer. In this combination of structure and intuition it is able to resonate with people across many different cultures, and across many visible and invisible boundaries. Through the establishment of tonal stability in tintinnabuli music, extra-musical codes and symbols can be placed within its structure. This is achieved through a compositional process that includes both highly organized proportional formulas and creative intuition. The process of pitch mapping as a method of musical analysis demonstrates how this can be done. Pitch mapping is presented as a creative process of musical analysis. Visual images and animated visual images are used to add to an understanding of the music.

The thesis is an empirical analysis of eight paintings in which the problems to be examined are the relationships of the expressive visual elements of composition with the subject matter. An attempt will be made to examine some specific problems encountered with individual works, which will include emotional involvement as well as aesthetic, and arrive at some generalizations. The paintings selected to comprise this thesis are four figure compositions and three landscapes. The medium used to execute the paintings is Acrylic-Polymer, a Hyplar Product, and they are painted on Upsom Board, for which considerations are given.

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