No description available.

No description available.

My objectives in pursuing this course of study were to widen my knowledge of other composers' music, with a view to: developing my techniques of composition, in terms of application of compositional models to the immediate process of writing (and of notating) music; extending that to works which were more ambitious in scope, duration and cohesion; and producing works which recognise performers' skills and limitations and exploit the former. This involved firstly analytical study of existing works in different genres written using a range of compositional techniques, and an assessment of how I might selectively assimilate what I had learnt about the composers' methods into my own work. This study extended beyond the genres in which I was myself composing or are reflected in my portfolio. Secondly, in addition to work with my tutors, I attended group tutorials (during my first year) and, whenever possible, participated in workshops, seminars and discussion groups not only at Royal Holloway, but also in other centres, including The Royal College and the Royal Academy of Music, King's College, London, the University of Cambridge and the Royal Northern College of Music. One of the pieces in this portfolio was composed expressly for and another was first played at a Royal Holloway workshop. Other workshop pieces are listed in Appendix I. Workshops and other discussions, more Of less formal, with players and singers enriched my understanding of instrumental and vocal techniques. Lastly, I sought performances of my music, and engaged in active collaboration and discussion with the performers as regards notation, precision in indicating technique, etc. The chapters which follow document my activities. In Chapter 1 I discuss my analytical processes, and in the following chapters indicate how I applied what I had learnt and identify some of the works in the repertoire which I found most instructive, in relation to each of the pieces submitted for consideration. I suggest that the major works submitted show clear stylistic development.

No description available.

Thesis (M.M.)--Boston University

Thesis (M.A.)--Boston University

Thesis (M.S.)--Boston University

In a series of chamber and orchestral compositions I employ approaches to composition in which motivic material is developed in a multi-linear fashion, according to processes of branching and divergence of parameters which are analogous to branching structures in nature. The resultant musical structures coexist within works that may contain multiple branches of motivic development, simultaneously or discretely, rather than following a single temporal line of development.

Thesis (M.S.)--Boston University

Thesis (Ph. D.)--University of California, San Diego, 2004. / Vita. Includes bibliographical references (p. 279-302).