The Full Armor of God is a musical composition based on the apostle Paul's comparison in Ephesians 6:10-20 between armor for physical combat and armor for spiritual warfare. The instrumentation consists of the following: oboe/English horn, bassoon, two violins, viola, cello, and bass. Texts on Roman armor as well as commentaries and sermons on the scriptures were consulted for the basis of the musical materials. The piece combines imagery and historical associations with abstract renderings of both the physical and the spiritual.

Concentrate for Chamber Orchestra -- Music

Watership Down is a work for chamber orchestra in four movements, approximately sixteen minutes in duration. The piece is a programmatic work based on the novel Watership Down by Richard Adams; however, the musical action is not intended to be an aural narrative of the story but, rather, is meant to capture the general mood of the four sections of the novel. The work exhibits the influence of several styles of late nineteenth-century and early twentieth-century music with the symphonic poem being the genre it most closely resembles.

The purpose of this study is to set forth certain principals or rules, Which, if adhered to, will be a beginning in the training of the young musician who would make the playing of dance music his profession. Be it understood that this is only an embryonic work and as such it should not be considered a final and irrevocable treatise on this topic. Actual work and development in this field will probably see many of the practices recommended herein relegated to a less important stage while items not mentioned, or perhaps mentioned and treated without undue stress, may come to the foreground of importance. It is hoped that this work will help in paving the way for a sincere and unprejudiced program of training for the young dance musician. However, before venturing into any discussion concerning dance music, it is necessary to have a clear understanding as to what fields of music are included in the term dance music.

Ka is a one movement composition for chamber orchestra consisting of three sections. The work's harmonic, melodic and rhythmic materials are derived from the Chinese I Ching ("Book of Changes"). The middle section was composed with the aid of a computer program written by the composer. The program generated the interval sequence arrays forming the harmonic basis for the piece. Ka is scored for flute, oboe, B𝄬 clarinet, bassoon, French Horn, trumpet, trombone, three percussionists, violin, viola, cello and double bass. The score is 62 pages with a 39 page analysis preceding the score. Ka has a duration of approximately 10 minutes with no pauses between sections.

The problems arising in the conception, composing and perfecting of a composition may be divided into two types (1) Those connected with the composition itself; and (2) Those pertaining to the interpretation of the moods and thematic variations of the composition by the orchestra.

The two orchestral pieces, written in the period of 2009-2010, are tone poems that demonstrate the development and combination of tonal melodies along with a coherent and effective use of orchestration to express different emotions inspired by two imaginary places. This thesis analyzes different aspects of the pieces based on their melodic construction and the use of the orchestra as the main instrument. This document also discusses the influence of specific composers and orchestral pieces, and the main historical style of the compositions. / by Raul Rivera. / Thesis (M.A.)--Florida Atlantic University, 2010. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2010. Mode of access: World Wide Web.

by Lee Chui Ling. / Thesis (M.Mus.)--Chinese University of Hong Kong, 1994. / Preface --- p.1 / Chapter I. --- Twinkling --- p.3 / Chapter i) --- Analysis-----Introduction --- p.4 / Chapter ----- --- Formal structure / Chapter ----- --- Musical elements / Chapter ii) --- Score (with performance notes) --- p.8 / Chapter II. --- Emancipation --- p.14 / Chapter i) --- Analysis 226}0ؤ Introduction --- p.15 / Chapter ----- --- First movement ~ Formal structure / Chapter ~ --- Orchestration / Chapter ----- --- Second movement ~Formal structure / Chapter ~ --- Harmony / Chapter ----- --- Third movement ~ Formal structure / Chapter ~ --- Musical elemets / Chapter ii) --- Score (with 226}0بorchestra' & performance notes) --- p.25 / Chapter III. --- Once Upon a Time --- p.105 / Chapter i) --- Analysis 226}0´ؤؤIntroduction --- p.106 / Chapter ----- --- Formal structure / Chapter ----- --- Scale / Chapter ----- --- Quotation / Chapter ii) --- Score (with performance notes) --- p.111

Thesis (Ph. D.)--University of Texas at Austin, 2000. / Vita. Includes bibliographical references (leaves 539-569). Available also in a digital version from Dissertation Abstracts.

The way I approached this analysis was to start with two general statements, one on the form and the other on the harmony. This was so the reader could get a sense of the direction of the piece. Then I did a fairly detailed analysis of the introduction since most of the ideas originate from there. The rest of the piece is discussed in less detail, but occasionally there were places that needed a little more detailed explanation. In the postscript I describe some of my influences.