Thesis (M.M.)--University of North Texas, 1999. / Includes analysis by composer. Performance notes on p. [iii]-[iv]. Includes bibliographical references (p. 42).

Thesis (M.A.)--University of North Texas, 2008. / For narrator at the piano. System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 30).

Thesis (M.A.)--University of California, Santa Cruz, 1997. / "Text by Allen Ginsberg"--p. 1. For Bb clarinet, tenor saxophone, piano, amplified double bass or electric bass, percussion, spoken voice. Typescript.

Thesis (Ph. D.)--University of North Texas, 2003. / Narrators perform the roles of Moses and Apostle John. Duration: 24:00. Includes bibliographical references (p. lxxvi-lxxvii).

Thesis (Ph. D.)--University of California, San Diego, 2006. / Vita. Performance instructions precede score.

Thesis (M. A.)--University of California, San Diego, 2010. / Title from first page of PDF file (viewed July 14, 2010). Available via ProQuest Digital Dissertations. Sound files consist of recordings of North and Yet somehow comes emptiness in single-channel and stereo. configurations.

Something About Marybell is a children's book with audio compact disk, in which I combined three art forms: storytelling, illustrating, and music composition. The nature of the story reflects my love of animals, which has been the essence of all my previous works as well. Beyond the technical matters I practiced and obstacles I encountered while working on each of the aforementioned art forms, the most important point I discovered was that all three were consistently interrelated, and I never could develop one medium without considering the others. Working on this project also was a journey to trace my major influences in different subjects. My drawing style is influenced by cartoons and animation films, which are now considered significant artistic styles in Japanese subculture. My music composition reflects a broad influence from many composers' works working in a variety of genres, especially piano works, of all eras. There are two specific works I studied as model works for this project: Poulenc's L'Histoire de Babar le petit éléphant (The Story of Babar the Little Elephant) and Prokofiev's Peter and the Wolf. It was a challenge to blend one stylistic approach into another to accurately realize my musical conception.

The Sneetches is a theater piece for children based on the Dr. Suess story The Sneetches (Random House, New York, 1961). It is scored for narrator, flute, B6 clarinet, bassoon, violins I & II, viola, and cello with optional staging. The staged version of The Sneetches requires two to six actors/dancers, appropriate scenery and props, and the active participation of children from the audience, preferably ages eight or under. The Sneetches is essentially through-composed. The overall form of the music is shaped primarily by the events portrayed in the narrative. Although individual subsections may have traditional forms, they should not be viewed as independent movements of a larger work, but rather as fragments of a whole.

‘...and one of time.' is a reinterpretation of a small musical moment from Philip Glass' opera, Einstein on the Beach, centered around the phrase "Berne, Switzerland 1905." This reinterpretation is realized through the use of several different compositional techniques including spectral composition, micropolyphony and dodecaphony, as well as the application of extra-musical models developed by Alan Lightman, John Gardner, Italo Calvino and Albert Einstein.

No description available.