Thesis (M.M.)--University of North Texas, 2006. / For flute, oboe, clarinet, contrabassoon, horn , tuba, percussion (2 players), 2 violins, viola, cello, double bass, 1 laptop computer, and 2 or more loudspeakers. System requirements: Adobe Acrobat Reader. Duration: 10:00. Includes performance notes by the composer (p. 1-23). Includes bibliographical references (p. 23-24).

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Master of Music / School of Music, Theatre, and Dance / Frederick Burrack / Finding a systematic process for teaching rhythms in the instrumental setting has presented its own set of challenges. Numerous factors such as time constraints, engagement, motivation, and various degrees of proficiency amongst the students can all play a part in the overall success of the group. This video presentation includes a teaching demonstration utilizing techniques acquired from MU680-A (Advanced Rehearsal Techniques). Using rhythm readiness sheets modeled by Dr. Jay Gilbert and specific rehearsal techniques taught by Dr. Frank Tracz, this presentation exhibits a process for teaching rhythms that increases retention of rhythmic patterns in a way that enables all students to engage in the learning process simultaneously. The lesson plan is explained in detail and the routine was repeated daily and eventually implemented into the twelve-minute warmup portion of the rehearsal. After three weeks the students were recorded and asked to reflect on their progression. A noticeable change was observed after the lesson was completed and applied to the piece. In addition, the method also revealed several hidden learning outcomes, such as facilitating independence as musicians, utilizing listening skills to distinguish how various patterns fit within an established pulse, and increasing student motivation by creating positive rehearsals with attainable goals. The result was a performance showcasing the growth of the ensemble’s overall musicianship. The rhythm readiness sheet and concept that was utilized in the teaching demonstration is credited to Dr. Jay Gilbert. The rhythm readiness sheet is not copyrighted or published, however expressed written consent was granted by Dr. Gilbert and can be found in the Appendix.

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Flame -- Night poem II -- Peach-blossom spring. / Wong Hok-yeung, Alfred. / Thesis submitted in: December 2002. / Thesis (M.Mus.)--Chinese University of Hong Kong, 2003. / Abstracts in English and Chinese. / Composition / Chapter 1. --- Flame 《焰》 -for Organ Solo / Chapter 2. --- Night Poem II 《夜詩 II》》 -for Cello and Chinese Ensemble / Chapter 3. --- Peach-Blossom Spring 《桃花源記》 -for Bass and Orchestra

Preludio -- Fancy -- Allegretto -- Country dance -- Scherzo and Trio -- Epilogue. / Wu Kiu Lap. / Thesis (M.Mus.)--Chinese University of Hong Kong, 2005. / Abstracts in English and Chinese. / Chapter I --- Suite for Solo Violin --- p.Page 2 / Chapter II --- "Humoresque for Woodwind Quintet, Pianoforte and Strings " --- p.Page 6 / Chapter III --- Andante Pesante --- p.Page 8

This single movement work is written for 2 flutes, 2 oboes, 3 clarinets in Bb, bass clarinet in Bb, 2 bassoons, alto saxophone in Eb, 2 horns in F, 2 trumpets in Bb, trombone, euphonium, tuba, contra bass, and 3 percussion. The approximate length is eight minutes. Both traditional and proportional systems of notation are employed. The entire piece is freely chromatic with some implications of whole tone and other nondiatonic scales. The harmonies are tertian yet have no functional tonal basis. Changing meters with asymmetrical divisions are used in all sections except C and E, which have time indications (in seconds) for each measure with subdivisions to aid the conductor. There are seven major formal divisions: A B transition C retransition A' D E.

This essay presents a conceptual analysis of my piece Unavoidably Sentimental for Large Ensemble. Specifically, the paper traces the roots of the musical thinking in the piece to a notion of Sincerity that emerges from David Foster Wallace’s books and essays. The term New Sincerity, coined by Adam Kelly, is deployed to consider what a post-postmodern Sincerity could sound like in contemporary music. The paper provides general background to the literary discourse around the concept of New Sincerity as an extension of Lionel Trilling’s formalization of Sincerity and Authenticity. It suggests some examples of how a renewed sense of Sincerity could incarnate in contemporary music. As a background for the analysis of Unavoidably Sentimental itself, the paper provides background to my prior engagement with concepts like irony and authenticity in music. Unavoidably Sentimental is analyzed as a linear process, in which the piece tries to emerge out of a net of self-aware referential musical objects into the creation of sonic states of unmediated human communication between the musicians and the audience. I present different musical strategies in which the piece confronts the limitations of human communication through music, contextualized with reference to the portrayal of communication in Wallace’s writings.

The study determines what factors and human input are placed into large instrumental music programs within New South Wales (Australia) public secondary schools and investigates the perceptions of instrumental directors as to what variables contribute to overall large instrumental music program success. Two survey instruments were developed with 73 directors of 142 schools secondary schools partaking in the study. The first survey instrument was designed to investigate directors’ perceptions of what variables are important to an overall successful large instrumental music program. (Success Survey Part A). The second survey sought to determine what factors and input make up the current programs (Factors and Input Survey Part B). The findings have implications for all large instrumental music program directors, students, those associated with both of these groups, such as administrators and volunteers, and also has implications for DET. The implications include a need for the NSW Department of Education and Training to acknowledge in an academic sense the input that students give to the instrumental programs, the time that teachers spend and accreditation for directors of the large instrumental programs. / Doctor of Philosophy (PhD)