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This submission comprises a portfolio of fifteen original musical works and an exegesis that comments on five of these works. Recordings of twelve of the fifteen compositions are included. These pieces demonstrate an ongoing investigation into structure, and the discussion will provide an insight into the constant process of experimentation and consolidation involved in developing such a body of work. In the exegesis I open with a general conversation on the compositional process and then focus on the formal problems inherent in this process. I then discuss the five scores included in the main volume, looking at how each are formed, and comparing their formal characteristics. This involves an analysis of the musical materials and how such materials are treated through repetition and transformation. I will also look at the aesthetic and stylistic concerns and how they inform the formal architecture of each work. An appendix includes the scores of a further ten works, with a brief introductory commentary on each. / http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1351235 / Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2008

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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.

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Note: Sheet music available upon request.

The Symphony has been composed using traditional Korean idioms and Western style four-movement arrangement. The Symphony requires Western instrumental forces. The discussions about Far Eastern music raised by Western and Eastern scholars, and about some Korean rhythmic aspects, articulations, and ornamentations help explain how the Symphony is constructed. The pitch materials, melodic styles, rhythm, form, and structural materials that are used in the composition are presented. Heterophony, embellishment, articulation, and mutation are also discussed.

published_or_final_version / abstract / Humanities / Master / Master of Philosophy

Concerto for Marimba and Orchestra is a twenty-two minute work cast in a traditional three movement concerto form. The basic harmonic/melodic materials are hexads and complementary hexads built on intervallic projections as propounded in Howard Hanson's Harmonic Materials of Modern Music. The opening movement is in double exposition form with a cadenza before the recapitulation. Marimba techniques used in the opening movement include chromatic thirty-second notes, mirrored octaves and single hand alternate sticking patterns. The form of the second movement is a rondo song form: a- b- a (inversion)- b (inversion)- c- c (retrograde)- b (retrograde-inversion)- a. The marimba plays rolled chords throughout much of the movement. The form of the third movement is a fast sonata-rondo form: a - b - a - development - b - a - coda. The development section of this final movement develops materials from both of the preceding movements and thus creates a cyclic form for the work. Marimba techniques explored in the third movement include dead strokes, octave dead strokes alternating with rolled octaves and, thirty-second note hexad patterns in fast alternation with the orchestra. This movement also contains sections in which the xylophone plays in duet with the marimba. Some of the compositional techniques used in the Concerto for Marimba and Orchestra include rhythmic modulation, augmentation, diminution, ostinato, inversion, retrograde, mirroring, odd meters, fragmentation, parallel motion, contrary motion, African rhythmic structure, harmonization with complementary sets and register sweeps.