The American high school schedule of single-period classes has remained mostly unchanged for over one hundred years. In response to societal changes and reform movements, the secondary school schedule is receiving renewed attention. Block scheduling, the use of extended periods of time for learning, is one response to school restructuring in Virginia and throughout the nation. In Virginia, the 7A/B block schedule is used by 23.3% of the high schools. Although advocates have convinced school boards to adopt this schedule, there is little hard data available to assess its efficacy. In this study the relationship between two types of schedules(7A/B block and 7-period traditional) and student achievement at the eleventh grade was examined. No differences were found between the two schedules for achievement as measured by the subscales of the eleventh grade Tests of Achievement and Proficiency. / Ed. D.

Extension is a three-sectional, one-movement composition for orchestra exploring various permutations of a single motivic unit. The central priority has been to present this motive in a variety of textural situations with a harmonic accompaniment evolving from a macrotonal to a microtonal setting. Some of the devices utilized to realize this priority are mixed-instrument timbral combinations, tone clusters, multiphonics for brass and woodwinds, multiple stops for strings, and superimpositions of multiphonics. Extension is unique in two areas. First, the evolutionary progression from a macrotonal to microtonal harmonic texture is made possible by expanding the priorities of instrumental performing. Second, the use of multiphonics for full orchestra is unique to this work.

Symphony for Band is a composition in three movements following a fast, slow, fast tempo scheme; the work is approximately sixteen minutes in duration. The standard band instrumentation is augmented by the addition of C trumpets, flugelhorns, an English horn, and a piano. The timbre of these instruments is explored both in a soloistic manner and in varying instrumental sombinations.

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Finger Spirits is a concerto for piano and orchestra. The traditional concerto form of three, large, separate movements is not present here. It is a one-movement work in three continuous sections. Certain premises of the concerto are retained: (1) the interplay of soloists and orchestra; (2) the display of vistuosity; and (3) the use of fixed thematic elements. Throughout the performance, the pianist alternates playing actual notes with gestures used in manual communication and mimetic elaborations created by the composer. The gestures delineate shapes of particular objects and depict emotions that are present in the work as it unfolds. Finger Spirits explores the act of performance and alters the traditional concert ritual of audience-performer opposition. In addition, it incorporates gestures as an extension of the role of the pianist and thus represents a form of music theater.

This thesis covers the history of Archangelo Corelli, and includes the creation of and three sonatas by Corelli.

Orcas is a two-movement work for chamber orchestra embodying traditional forms with twentieth-century timbres, textures and rhythms/ It is scored for twenty-two strings, six woodwinds, three brass and one percussionist. The purpose of this work is to make a contribution to the chamber orchestra literature which employs both traditional and contemporary elements, textures and styles.

Sinfonietta is a one-movement piece for full symphony orchestra. The work contains five themes, three of which are the more important. The remaining two are subordinate because they are shorter, and not as fully developed as the A themes. A diagram of the form of the piece is shown on the following page as Figure 1. The duration of the work is approximately 14 minutes.

The composer has earnestly sought to capture in this work, Allegra for Orchestra in C minor, the clarity and simplicity that is commonly associated with works of the Classic Period of musical composition. He has tried to accomplish this by making use of musical composition. He has tried to accomplish this by making use of present day approaches toward musical composition, yet trying to delete the cleverness, the bizarre effects, and the trite pomposity that one finds so prevalent in much of the music that has been written since the beginning of the twentieth century. This effort toward simplicity extends to form, harmonic content, texture, and instrumentation.

Kami is a two-movement composition for chamber orchestra. It is scored for two flutes; two Bb clarinets; bassoon; two F horns; Bb trumpet; bass trombone; a percussion section consisting of two performers alternating on triangle, suspended cymbal, three toms (low, medium, high), two timpani, and xylophone; piano; harp; and strings. The movements are approximately five and six minutes in duration, respectively, with a total duration of approximately eleven minutes. The title, Kami, is taken from the Japanese word for "god," and is meant to convey a sense of otherworldliness. This piece is intended as a fantasy for chamber orchestra, merging eastern and western musical influences.