Each composition in the following document has resulted from my desire to explore problems and possibilities that are to be found in the various ensembles and/or techniques chosen. For each new composition a particular issue or set of issues was established at the outset and dealt with from different angles at all stages of the works' creation. [1] Chansons Precieux: In these three songs I was interested in reducing my material choices to a minimum and also in creating a small fragment for the text which could be exploded into syllabic utterances. These were, over the course of the three songs, utilized in small groups. Only in the final song is the entire text revealed. [2] Across The Gorge Is The Bridge: Synthesized and concrete sounds constitute the palette of this tape piece. In processing the sounds I selected evolutionary characteristics with the intention of exploiting these characteristics in a particular manner - the notes in the piece are of extremely long duration (c. 12') and so the evolution takes place at a very slow pace. In a sense time is slowed down in the work, almost to the point of absolute stasis. [3] Triangle: Here I examined the concept of an imagined triangular pathway in which each intersection of two lines consisted of the same object viewed in a different way. The lines themselves are manipulations of the object. The original inspiration for this piece came from reading about Stonehenge and other such prehistoric laboratories designed as viewing points for the sun and moon and their risings and settings at key times of the year. [4] Anya Manas: A small item, in this case a chord, is never presented literally, but begins its life in this piece by already having been bent, altered, linearized and otherwise mutilated. Eventually the chord has completely lost its own sense of its own reality. "Anya Manas" is a Sanskrit saying that refers to a state of mind in which confusion of identity prevails. [5] Wo Weilest Du?: This work involved the desire to eliminate such traditional concepts as motivic development, regular phrasing and clear form. Sound objects appear, vanish and may or may not return later. There is no formal goal or climax. The piece simply begins and ends where it does. The title is German and means where are you waiting? It comes from Wagner's Tristan und lsolde. / Arts, Faculty of / Music, School of / Graduate

Requiem for Netted Fish is an intermedia composition for sixteen-voice SATB choir, harp, six dancers, slide projections, and lighting. The text, taken from the poetry of Anna Akhmatova and Carolyn Forche, presents a universal, womanly rage against human repression and destruction. The poetry finds aural interpretation in sound, and visual interpretation in movement and lighting. Poetic inspiration contributes to the integration of elements in the work, as does the impulse-exchange method of coordinating mediums, which allows the dancers control of the timing of events. The resultant interdependent relationships necessary for performance contribute to the integration of the composition. The duration of this intermedia work is approximately fifteen minutes.

This thesis deals with ancient string and percussion instruments with additional focus on a hydraulic organ, an instrument that is difficult to categorize. The first part of the thesis is a follow-up to the bachelor thesis Wind Instruments of Ancient Greece and Rome, which is devoted to wind instruments, and deals with the classification, description and evolution of the instruments of the other two instrumental groups. This is illustrated on the background of literary, archaeological and iconographic sources, especially on the vase painting. Vase painting well demonstrates the shape, evolution and regional occurrence of these instruments. In the second part of this thesis the Attic and southern Italy vase paintings will be used to compare musical culture in both of these areas. In Attic music scenes the chronological evolution of depicted instruments is examined, while in southern Italian scenes we will concentrate on the differences of depicted instruments in the regions of Campania, Lucania, Sicily, Paestum and Apulia. Finally, the Attic musical instruments are compared with the instruments of southern Italy. The results of the analyses will be entered into graphs. Keywords: ancient music, strings instruments, percussion instruments, Greece, Southern Italy, Campania, Lucania, Apulia, Sicily,...

No description available.

Opus 25 is a collection of compositions which I created between September 1995 and April 1997. Instrumentation varies; there are works for choirs, chamber ensembles, solo voice, solo harp, solo piano, and orchestra. All the works included in this collection have been performed at some point during this same period, and recordings of these performances can be found on the accompanying cassette.

Opus 25 is a collection of compositions which I created between September 1995 and April 1997. Instrumentation varies; there are works for choirs, chamber ensembles, solo voice, solo harp, solo piano, and orchestra. All the works included in this collection have been performed at some point during this same period, and recordings of these performances can be found on the accompanying cassette. / Arts, Faculty of / Music, School of / Includes 1 sound cassette / Graduate