New York Cycle consists of the settings of three poems for bass-baritone voice and eight instruments. The poems, each of which serves as the basis for one movement, are "The East River's Charm" by Samuel Bernard Greenberg, "Brooklyn Bridge" by Vladimir Mayakovsky, and "The Skyscraper Loves Night" by Carl Sandberg. The instrumentation employed consists of two French horns, vibraphone, timpani, and string quartet.

The composition, in three movements, is scored for flute, doubling piccolo;oboe, doubling English horn; B-flat clarinet, doubling bass clarinet; bassoon; horn; trumpet; trombone; violin; viola; cello; contrabass; piano; and percussion. The title Sinfonia Concertante is used for its specificality: a symphony of several solo instruments with traits of the classical style. The music is mock-serious and satirical at times, making light of a certain post-1945 musical gravity. The duration of the work is approximately 20 minutes.

Music for Katurah is scored for string quartet, flute, alto flute, soprano saxophone, bass clarinet, piano, and two percussion with total duration of approximately nineteen minutes. The work has three movements and uses spatial as well as standard notation. Each movement begins softly, builds gradually to a highpoint, and returns to the soft beginning. Timbral exploration and improvisation are prominent features in this piece. Also, through the use of spatial and standard notation, the piece combines strict rhythms and free rhythms.

Trio sonata op. 1, no. 3 / A. Corelli -- Choros no. 4 for three horns and trombone / H. Villa-Lobos -- Brass quintet no. 2, op. 6 / V. Ewald -- Meditation from Thais / J. Massenet -- Street song / M. T. Thomas -- Wagner for five bones / R. Wagner. / text

Misguided attempts at humour -- Enhanced interrogations of piano technique -- Dear Lieder -- Any little thing (fur Sechs) -- Joy. Even against night. / text

Florentiner "Grand march italiana" op.214 / Julius Fucik -- Overture to Colas Breugnon / Dmitri Kabalevsky -- Second suite in F for Military Band / Gustav Holst -- Lauds (Praise high day) / Ron Nelson. / text

Lecture: "Re-implementing the bass tuba in wind ensemble literature" -- Hungarian march / Hector Berlioz -- Concerto for bass tuba / Ralph Vaughan Williams -- Toccata Marziale / Vaughan Williams -- Lincolnshire posy / Percy Grainger -- Symphony no.19, op.46 / Nikolai Miaskovsky -- Symphony in B-flat / Paul Hindemith. / text

"Eugene (Gene) Ammons: the coalescence of swing, rhythm and blues, and bebop in modern jazz" -- Anna / Armando Trovajoli. / text

Score based on on a story from Fun With Your New Head, by Thomas M. Disch.

English Abstract Tudor court gives support completely to the cultural activities, and court¡¦s members have qualification for musical accomplishment that produced an effect on the whole surroundings. It builds close relations between the development of instrumental ensemble music and ceremonies, entertainment, and the living requirement. Therefore, the thesis intends to study the relationship between the court entertainment at early Tudor and its instrumental ensemble music. The content consists of four chapters, in addition to the introduction. Chapter one is the general discussions about the contemporary polity, economy, society, religion, and cultural context from the end of the fifteenth-century to the early of the sixteenth-century. In the second chapter contains the details of the court entertainment, the third chapter focuses on the thirty-five pieces from Henry ¢À¡¦s Book, which are the absence of text , and the fourth draws a conclusion. From Middle Ages to Renaissance, the situation in England changes from variety aspects such as politics, economy, society, religion, and culture, But it provides a favorable atmosphere with the instrumental ensemble. The music is indispensable to the court environment of the early Tudor. The minstrel¡¦s number and ability represent the status of the employer. Moreover, the instrumental ensemble what musical type is proper for the ceremonies, entertainment, and performance. The thirty-five pieces are considered as embryonic form that pieces for instrument, and differed in length and style. They are classified in three: one is ¡§puzzle canon¡¨, another is ¡§consort¡¨, and the rest is arrangement of the voice or the special technique pieces. Because most of which are simple chord style, it is demonstrated that new noblemen are fond of the pieces. However, the simple style of the early instrumental ensemble music is distinct from the polyphonic style of the consort afterwards. The style¡¦s change attributes to the rising new nobility, the Reformation, the trend of Renaissance thought, the patron of the Royal, and the import of the foreign music, player, and instrument. In a word, the musical phenomenon that is the variety of the style reflects the changes in the society of the Tudor.