Sonata for piano / C. Schmitz -- Three lyric poems dates / C. Schmitz -- Arctic Circle / C. Schmitz -- Rhapsody for two violas and piano / C. Schmitz -- Out in front / C. Schmitz -- Austin-tatious / C. Schmitz / text

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This is a piece for mixed chamber ensemble (flute doubling piccolo and alto flute, bass clarinet, piano, percussion [crotales and vibraphone] violins 1&2, viola, and cello). The total performance length of the piece is approximately fifteen minutes. The structure of the work is based on the exploration of formlessness as form, a piece of music where the drifting, seemingly aimless instrumental lines create a complex texture that becomes more than the sum of its parts. Instead of relying on a clearly delineated form based on goal-oriented structures, this work gradually transforms its elements without ever feeling the need to go anywhere other than where it already is. In this sense, the music is in a constant state of becoming itself, a goal that it can never really achieve.

Music for Flute and Piano is a determinate composition for these two instruments. The technique used consists of serial saturations of pitch and rhythm as a starting point; however, the end result departed from strict adherence to serial procedure toward an intuitive variation of an 'A' and 'B' theme. A Script for Violinist incorporates determinacy and indeterminacy into a score; it is an exploration of violin idioms made 'in the moment,' capturing the many possibilities of bowing, fingering, and timing that become individualized by the performer.

EMF Duration: c.a. 15 minutes Robert Max Stoffregen, M. Music The University of Texas at Austin, 2012 Supervisor: Russell Pinkston Co- Supervisor: Bruce Pennycook This piano trio is an extension of my work in the area of chamber music composition, and constitutes the single largest work of mine in this area. Chamber music is the most significant area of my work as a composer, and this composition represents an attempt to expand the scope of my chamber works from single movement, contiguous pieces, to a multiple movement concert length work. The titles of each of the movements of EMF are abstracted from song lyrics by indie-rock singer/songwriters Bill Callahan, John Vanderslice, and hip-hop producer/vocalist Eligh. Each movement borrows musical material from its respective song and develops significantly the given musical “seed” according to various compositional techniques. It was my hope from the beginning that this type of referencing and borrowing might lend the music freshness, and at the very least, form a connection between my work as a composer and my musical tastes and experiences as an objective listener. There are no programmatic intentions behind EMF. / text

This thesis is a musical composition featuring solo percussion with wind ensemble. It is in three movements with a cadenza linking the second and third movements. The performance time of this work is approximately 12’ 30”. The work will receive its world premiere in the spring of 2014 by Adam Groh and the Graceland University Symphonic Band. / text

Not so far as the forest -- Reverie -- Insert coin here / text

Repository copy includes the score of 16 pages, including 1 page of performance instruction, in a pdf format from the original, edited in Sibelius 8.2.0. / Barzakh means separation in Arabic. Moreover, in the Islamic eschatology, it is a barrier between the physical and spiritual worlds. In this piece, I am using this idea as an inspiration to my creation so that a disrupting sound and its developments are separating the sound worlds and opening new dimensions for new musical spaces. The piece is composed for string quartet and its duration is approximately 9 minutes.