No description available.

Light Traveller is motivated by the works of Czech photographer Josef Sudek. Masterfully portraying contrasts of light and dark in his black and white photography, Sudek has been described as a “traveler in light” for his photography work. In creating this orchestral composition, I was interested in exploring compositional methods that aurally express how Sudek manages space, texture, and most specifically the use of light and dark variances in his photos. I consulted specific collections of photographs from his body of work. The subject materials in these photographs became metaphors that I explored sonically. Light Traveller is structured into four main sections: a beginning section, two middle sections, a final section that recapitulates ideas from the first section, and lastly a coda at the end of the final section. This work embraces measured and deliberate pacing, and is mainly concerned with exploring the range of timbre and resonance possibilities that the orchestra is capable of creating. The composition utilizes static harmonies and slowly unfolding harmonic changes. Quarter tones are employed as a means of expanding the colour and harmonic palette used for this composition. Differing textures are generated through intricate rhythmic materials, gradually moving materials, and static material.

No description available.

Light Traveller is motivated by the works of Czech photographer Josef Sudek. Masterfully portraying contrasts of light and dark in his black and white photography, Sudek has been described as a “traveler in light” for his photography work. In creating this orchestral composition, I was interested in exploring compositional methods that aurally express how Sudek manages space, texture, and most specifically the use of light and dark variances in his photos. I consulted specific collections of photographs from his body of work. The subject materials in these photographs became metaphors that I explored sonically. Light Traveller is structured into four main sections: a beginning section, two middle sections, a final section that recapitulates ideas from the first section, and lastly a coda at the end of the final section. This work embraces measured and deliberate pacing, and is mainly concerned with exploring the range of timbre and resonance possibilities that the orchestra is capable of creating. The composition utilizes static harmonies and slowly unfolding harmonic changes. Quarter tones are employed as a means of expanding the colour and harmonic palette used for this composition. Differing textures are generated through intricate rhythmic materials, gradually moving materials, and static material.

v.1. Musical composition -- v.2. Analysis. / In this paper the compositional issues and techniques employed in my M. Mus. Thesis Composition Nocturnales (for chamber orchestra comprised of fifteen players) is discussed. The piece, constituted of three connected parts, exhibits an eclecticism of musical styles and compositional approaches that comes in part, from the use of different temporal structures. To build such structures, two independent techniques have been developed that organize pitch and rhythm according to some serial procedures, yet are flexible enough to permit local level decisions based on intuitive considerations. The basis of the pitch system is a 1-2-1 tetrachordal set, to which are applied both principles of permutation and a modal treatment. In the rhythm domain, besides the conventional metric divisions of 2 and 3, predetermined numerical rows derived from the Fibonacci series to provide the durational values between event attacks are employed.

The Days of Victory is a piece of music for a chamber orchestra of sixteen players, approximately thirteen minutes in duration. The accompanying analytical essay provides an extensive general description of its systems of pitch organization, and a more specific account of their operation in this piece. These systems function by linking dyads together to create a harmonic language that favours asymmetrical chord formations. Also included is an outline of its form, which uses four contrasting types of sections in recurrence. The essay comments on the stylistic tendencies of the piece in terms of rhythm, texture, and orchestration. This is followed by a brief exploration of the aesthetic implications of the music in relation to its title, which is drawn from a short excerpt of the Koran.

X is a composition for a chamber orchestra with a duration of approximately 13'30″. The title X (read as "cross") refers to a cross-weave pattern created by superimposing the trills and written-out tremolos in the piece. While the trills and tremolos are used throughout the piece to create a sense of textural variety, they have an important function in controlling the formal structure of the piece. The texture, which is one of the important features of the composition, makes the overall form apparent.

Thesis (M.M.)--Conservatory of Music. University of Missouri--Kansas City, 2007. / "A thesis in music composition." Typescript. Advisor: James Mobberley. Vita. Title from "catalog record" of the print edition Description based on contents viewed Nov. 12, 2007. Online version of the print edition.

Thesis (D.M.A.)--Conservatory of Music. University of Missouri--Kansas City, 2007. / "A dissertation in music composition." Typescript. Advisor: Chen Yi. Vita. Description based on contents viewed Nov. 20, 2007; title from "catalog record" of the print edition. Online version of the print edition.

Thesis (D.M.A.)--Columbia University, 1998. / "For chamber ensemble or orchestra featuring solo piano"--Abstract. Duration: 28:00. Department: Music. Commentary following leaf 221 is a printed version of the composer's website.