Thesis (Ph. D.)--University of Illinois at Urbana-Champaign, 1997. / Vita. Includes bibliographical references (leaves 252-267).

Thesis (M.M.) Florida State University, 2006. / Advisor: Denise Von Glahn, Florida State University, College of Music. Title and description from dissertation home page (viewed 7-13-07). Document formatted into pages; contains 60 pages. Includes biographical sketch. Includes bibliographical references.

Hochschule für Musik, Diss.--Würzburg, 2007.

Treatise (D.M.A.)--University of Texas at Austin, 2002. / Vita. Includes bibliographical references. Available also from UMI Company.

Thesis (Ph. D.)--University of Florida, 1986. / Description based on print version record. Typescript. Vita. Includes bibliographical references (leaves 243-248).

Explorations is a three-movement experimental work for eighteen-piece jazz ensemble consisting of the following instruments: soprano saxophone, alto saxophone, two tenor saxophones, baritone saxophone, two trumpets, two flugelhorns, three trombones, bass trombone, electric guitar, vibraphone, contrabass, drums and piano. The duration of the work will approximate twelve minutes. The first movement features geometric configurations of spatially notated sound which emphasize percussive qualities of the ensemble (i.e. key clicks, tongue slaps, mouthpiece pops, etc.). Tone clusters of various pitch, texture and dynamics derived from blues scales provide the source material for the second movement. A slowly developing dynamic counterpoint creates the sound mass texture and delineates the form. Movement Three features a contrapuntal poly-metric collage of variations on a four-note theme. The collage provides the background fabric for an exchange of periodic and aperiodic events.

No description available.

The composition The Drawing Board is an extended three-movement work for jazz orchestra, approximately twenty-six minutes in length. The Drawing Board is a musical portrayal of an imaginary artist as he undertakes his work, exploring the emotions inherent to the artistic process, including the uneasiness of staring at a blank canvas, the magical feeling of abstract ideas coalescing into something concrete, the frustration of an unfinished or imperfect work, and the unique sensation of artwork gradually revealing itself to the artist. The introductory section of the accompanying dissertation outlines my overall musical approach and philosophy, and describes the compositional goals behind this work. The core of the dissertation is a musical analysis that provides insight into various compositional techniques and strategies, showing relationships between the three movements. Topics include form, harmony, melody, orchestration, counterpoint, and contexts for improvisation. / text

No description available.

No description available.