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Thesis (M.A.)--University of California, San Diego, 2008. / Accompanying disc is DVD-ROM, and includes sound files for 2nd and 3rd compositions. The 1st work for flute and violin, 2nd for 15 instruments, 3rd for tenor saxophone and piano. Title from first page of PDF file (viewed June 25, 2008). Available via ProQuest Digital Dissertations. Durations: ca. 14:00, ca. 15:00, ca. 15:00.

Thesis (D.M.A.)--University of Wisconsin--Madison, 1994. / For flute/piccolo, oboe, clarinet/bass clarinet, bassoon, horn, 2 trumpets, trombone, tuba, and percussion (2 players). Reproduced from holograph. Includes poem to be read during Introduction. eContent provider-neutral record in process. Description based on print version record.

Thesis (M.A.)--University of California, San Diego, 2009. / Title from first page of PDF file (viewed July 11, 2009). Available via ProQuest Digital Dissertations. Accompanying disc contains PDF file of thesis and recordings of performances.

Thesis (M.A.)--University of California, San Diego, 2009. / Title from first page of PDF file (viewed July 13, 2009). Available via ProQuest Digital Dissertations. Includes disc containing sound files of the pieces and PDF version of the thesis.

Hailstones and Birdcages is a composition of approximately thirteen minutes' duration and is scored for two flutes and piccolo, two oboes and english horn, three Eb clarinets, E clarinete, bass clarinet, two bassoons, two Eb alto saxophones, Bb tenor saxophone, three Bb trumpets, four F horns, three trombones, euphonium, two tubas, and three percussionists. Four instruments--one each of flute, oboe, Bb clarinet, and trombone--are used in concertante like fashion, and there are prominent solo passages for the first bassoon, as well. The work is a single movement in three sections, fast - slow - fast, with ritornello. and employs a free use of the total chromatic. Technically, the work is within the capabilities of an above-average high school or average college wind ensemble

The piece is a twenty minute work discoursing the integration and eventual dissolution of two separate musical strands. The pitch material of each strand is determined from synthetic scales whose intervalic content duplicates at the following intervals: Perfect 12th, Diminished 12th, Minor 9th, Perfect 8ve, and Major 7th. A proportional means of temporal compression is generated through the use of the factor, 11/15 (e.g. Event 2 is 11/15 the duration of Event 1). Various elements of jazz music informed the construction of plies, including the instrumentation of the ensemble and the means by which the performers interact throughout the piece. Internal cueing and performer decisions are meant to eliminate the need of a conductor in favor of increased interpretive freedom by the performers.

This work was written for ten performers plus tape. The instruments are divided into two groups, each with a distinct personality: flute, clarinet, horn, violin and cello in an "orderly" group, and three percussionists, piano, doublebass and tape in a "chaotic" group. The first two sections introduce these groups separately. The third section returns to the order group, which begins to show a chaotic influence. The fourth section, for tape alone, echoes the first in its stability. The final section, for the entire live ensemble, fuses the two groups into a texture which is not entirely chaotic, nor entirely orderly.

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