D.M.A. Final project--Department of Music, Stanford University, 1999. / "The solo pianist must perform on a concert grand Yamaha Disklavier. The piano part is executed normally until m. 308, at which point the performer calls up a MIDI sequence ... to be executed by the instrument. The pianist re-enters in m. 408 and plays normally until the end. A floppy disk containing the MIDI sequence is available from the composer"--P. [1].

No description available.

Thesis (Ph. D.)--University of Rochester, 2008. / Duration: ca. 45:00. Includes program and performance notes. Accompanied by: The dynamic contextual nexus and the composition of self : Franz Liszt's Trois odes funèbres : a case study in intertextuality / by David Henning Plylar (viii, 196 leaves : music). Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/7671

Thesis (M.A.)--Western Washington University, 2010. / Duration: 8 min. Also issued online.

No description available.

No description available.

Swallow, Egg, Chrysanthemum is a sixteen minute work for piano and orchestra. The title refers to symbols from Greek, Western and Asian cultures, with all of the symbols being associated with life, death, or resurrection. Over the course of the piece the interaction of the piano with the orchestra creates a metaphor for the journey of the human soul through the three states of existence. Each of the three contiguous movements carries the name of one of the symbols, whose physical aspects influence the internal form of the movement. In recognition of the conflict between an acceptance of life and death, and a belief in life, death and resurrection, the work contains coexisting two- and three- part forms. At the temporal level, “Swallow” is balanced by “Egg” and “Chrysanthemum”, and this balance is aided by a blurring of the boundary between the last two movements. The musical language of the work is based in part on the use of cyclical, diminishing permutations of pitch collections, which are themselves derived from a master pitch group. The permutations reduce the number of pitches in each collection, creating an apparent “zeroing in” on a single pitch or “tonic goal”. As a result, moving backwards or forwards through the reductive process can increase or decrease the musical tension of a particular passage, by altering the number of pitches present. Twelve harmonic areas are created using this technique, and over the course of the work each of them is touched upon, with certain ones being of greater importance. Foreshadowing has been used in the form of the work as a unifying device and is present at the micro and macro levels. The form of the Introduction can be mapped onto the first two movements, and onto the piece as a whole. In the last movement a process of postshadowing occurs, whereby earlier material is reinterpreted and transformed in a summation of the work.

Thesis (M.M.)--Ohio University, August, 2001. / Title from PDF t.p. Includes bibliographical references.

Swallow, Egg, Chrysanthemum is a sixteen minute work for piano and orchestra. The title refers to symbols from Greek, Western and Asian cultures, with all of the symbols being associated with life, death, or resurrection. Over the course of the piece the interaction of the piano with the orchestra creates a metaphor for the journey of the human soul through the three states of existence. Each of the three contiguous movements carries the name of one of the symbols, whose physical aspects influence the internal form of the movement. In recognition of the conflict between an acceptance of life and death, and a belief in life, death and resurrection, the work contains coexisting two- and three- part forms. At the temporal level, “Swallow” is balanced by “Egg” and “Chrysanthemum”, and this balance is aided by a blurring of the boundary between the last two movements. The musical language of the work is based in part on the use of cyclical, diminishing permutations of pitch collections, which are themselves derived from a master pitch group. The permutations reduce the number of pitches in each collection, creating an apparent “zeroing in” on a single pitch or “tonic goal”. As a result, moving backwards or forwards through the reductive process can increase or decrease the musical tension of a particular passage, by altering the number of pitches present. Twelve harmonic areas are created using this technique, and over the course of the work each of them is touched upon, with certain ones being of greater importance. Foreshadowing has been used in the form of the work as a unifying device and is present at the micro and macro levels. The form of the Introduction can be mapped onto the first two movements, and onto the piece as a whole. In the last movement a process of postshadowing occurs, whereby earlier material is reinterpreted and transformed in a summation of the work. / Arts, Faculty of / Music, School of / Graduate

Thesis (M.M.)--University of Wisconsin--Madison, 1961. / Typescript. Title from title screen (viewed Nov. 7, 2007). Includes bibliographical references (leaves [172-173]). Online version of the print original.