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Thesis (M.M.)--Ohio University, August, 2007. / Title from PDF t.p. Includes bibliographical references.

Thesis (Ed.D.)--Teachers College, Columbia University. / Typescript; issued also on microfilm. Includes tables. Sponsor: Ernest E. Harris, . Dissertation Committee: Robert Pace. Includes bibliographical references.

Thesis (Ph. D.)--University of Auckland, 2006. / Title from PDF title page (viewed on Oct. 11, 2006). Includes bibliographical references (p. 269-287).

This dissertation is a reflection on The Art of Light, a piece written for orchestra by Mary Stiles. The document discusses formal aspects of the work as well as the composer's thoughts on the compositional process. Aspects of time as they relate to the piece are examined in detail, as are the composer's use of simplicity, orchestration, and motivic development. / Graduate

The Symphonic Fantasia Han-Kook oui Ja-Yeon (Nature in Korea ) is a single-movement orchestral piece, which is divided into 5 characteristic sections - each section has programmatic subtitles (Rocks, River, Sea, Wind, and Mountain) and its own idée fixe motive. The degree of texture (homophonic/polyphonic), dynamics (strong/weak), density (thick/thin), velocity (fast/slow), and orchestration (emphasizing various sections of the orchestra) is determined by depiction of the subtitles. The critical commentary of the Symphonic Fantasia Han-Kook oui Ja-Yeon (Nature in Korea ) includes a discussion of form, pitch content (melodic and harmonic), and texture of the piece. The commentary also includes a discussion of the use of programmatic subtitles (Rocks, River, Sea, Wind, and Mountain) and depiction of these concepts in the orchestration of the work. A comparison with other orchestral works is added for explanation and support of the composer's concept. Some of the other composers who are discussed in this paper include Richard Strauss (Alpine Symphony), Gustav Holst (The Planets), Frank Bridge (The Sea), Aaron Copland (Billy the Kid), and Joseph Klein (Pathways: Interior Shadows).

Breakdown is a 17 minute, single movement work for orchestra in five sections. It is scored for 2 flutes, 2 oboes, 2 Bb clarinets, 2 bassoons, 3 Bb trumpets, 4 horns in F, 3 trombones, tuba, percussion, piano, and strings. The percussion consists of a tam-tam, 5 break drums, 4 timbales, 2 gourds, chimes, marimba, vibraphone, snare drum, 2 field drums, bass drum and tympani. The inspiration for this work is the poetry of Bruce Weigl which deals with many facets of the Vietnam experience. One particular work from his collection Song of Napalm, the poem "Breakdown", provided the basis for the emotional and structural content of the music. There are two primary sources of pitch material in the music of Breakdown, both of which have links to the Vietnam War. The name of a soldier who was killed in Vietnam, Miles Cooper, was used to generate a basic pitch set and a series of variation sets that provide much of the harmonic and melodic material in Breakdown. There derived sets are supported by the use of phrases and motives from the hymn Jewels, which celebrates the love of God for his children, and providesan indirect link to the subject of the piece, the war in Vietnam.

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