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The thesis is a traditional piano quintet in the manner of Bartok, incorporating compositional techniques such as golden ratio and using folk materials. Special effects on strings are limited for easy conversion to wind instruments. The piece is about 15 minutes long.

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Ribbons of Visible Air is a work of about twenty minutes duration for soprano saxophone, violin, cello, piano, one percussion, and live digital sound processing. Though the work unfolds as one continuous movement, it is conceived as being in several sections, each lasting from approximately one to four minutes. The primary ideas behind the form of Ribbons of Visible Air originate in the concerto principle (with the saxophone in the role of soloist) and variation technique; these ideas influence not only the large-scale form, but also the organization of material in respect to the different instruments and the relationship of the ensemble as a whole to the electronic processing. This composition explores a number of harmonic techniques related to the harmonic series, as well as the rhythmic possibilities inherent in multiple levels of pulsation. Of particular relevance to this work is the incorporation of extended techniques of the soprano saxophone, especially the alteration of pitch and timbre through unorthodox fingering patterns.

Despite its enduring popularity in performance circles, Carl Nielsen's Wind Quintet, op. 43 (1922), has received little attention from the scholarly community. This thesis provides the most comprehensive examination of the work to date and includes original analyses of each of the three movements. Moreover, it illuminates and defines stylistic trademarks that are found not only in this piece, but also within Nielsen's oeuvre more broadly. These traits include the weakening of tonal design, the liberal use of chromatic harmonies, contrapuntal writing, and the allusion to and distortion of traditional forms. This thesis highlights Nielsen's synthesis of traditional and idiosyncratic elements and thereby situates his music amid an emerging trend in European compositions of the time: the anachronistic use of historical models (Hyde).

This thesis concerned the design and implementation of an extensible computer language for microcomputer users. The language was shown to provide a minimal set of features which can be extended toward particular applications. The interactive nature of the language was discussed, along with a description of each language feature.Also presented were implementation specifics involving the use of a technique called threaded code. Motivations for the use of extensible languages were discussed, along with suggestions for further extensions and applications. / School of Music

Thesis (D.M.A.)--University of Texas at Austin, 2003. / Supervisor: Russell Pinkston. Vita. Includes bibliographical references. Available also from UMI Company.

Thesis (M. Mus.)--University of Wisconsin--Madison, 1960. / For flute, oboe, clarinet, horn, and bassoon. Holograph. eContent provider-neutral record in process. Description based on print version record.

Ribbons of Visible Air is a work of about twenty minutes duration for soprano saxophone, violin, cello, piano, one percussion, and live digital sound processing. Though the work unfolds as one continuous movement, it is conceived as being in several sections, each lasting from approximately one to four minutes. The primary ideas behind the form of Ribbons of Visible Air originate in the concerto principle (with the saxophone in the role of soloist) and variation technique; these ideas influence not only the large-scale form, but also the organization of material in respect to the different instruments and the relationship of the ensemble as a whole to the electronic processing. This composition explores a number of harmonic techniques related to the harmonic series, as well as the rhythmic possibilities inherent in multiple levels of pulsation. Of particular relevance to this work is the incorporation of extended techniques of the soprano saxophone, especially the alteration of pitch and timbre through unorthodox fingering patterns. / Arts, Faculty of / Music, School of / Graduate

Till Millennial Kingdom is a single-movement composition, eleven minutes in length, combining a trumpet, three percussionists, and tape. Throughout this text, use of the word "tape" will refer to pre-recorded audio on compact disk. This is also a programmatic composition, in that it uses music to depict a non-musical event. The form and instrumentation of Till Millennial Kingdom create a musical depiction of natural and supernatural events as they relate to biblical prophecy. The trumpet makes a significant thematic contribution throughout the work and particularly during the end of the piece. The use of percussion grants an element of rhythmic agitation, and the tape part provides a musical canvas upon which all sonic elements of the work are arranged. The combination of percussion and electro-acoustic gestures represents the programmatic concept of wrath and tribulation. Ironically, the closing stages of this work musically represent the beginning of eternity.