Symphony I -- Moments -- Three Chinese poems for mixed choir. / Tam Chin Fai. / Thesis (M.Mus.)--Chinese University of Hong Kong, 2004. / Includes bibliographical references (leaves 96). / Abstracts in English and Chinese. / Instrument List of SYMPHONY I --- p.iii / SYMPHONY I (2002-2003) --- p.1 / MOMENTS (2003) --- p.56 / THREE CHINESE POEMS for Mixed Choir (2004) / Chapter I. --- Chou Nu Er - Shu Bo Shan Dao Zhong Bi by Xin Qi-ji --- p.75 / Chapter II. --- Deng Le You Yuan by Li Shang-yin --- p.81 / Chapter III. --- You Zi Yin by Meng Jiao --- p.88 / Pronunciation and Translations of THREE CHINESE POEMS for Mixed Choir --- p.94 / Bibliography of the Translations of THREE CHINESE POEMS for Mixed Choir --- p.96

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Holiday in Reality is a five-movement suite for jazz chamber ensemble utilizing strings, brass, woodwinds and jazz rhythm section that provide a context for interplay with the tenor saxophone. The intent was to compose a series of musical vignettes exploring some of the possibilities of integrating jazz and classical idioms, with the goal of fusing these genres into a unified whole. The title Holiday in Reality is the name of a poem written by American poet Wallace Stevens. In this poem, Stevens depicts the interaction between the mind and imagination as a series of spontaneous events. When viewed within a creative context, his viewpoint of mind and imagination are well suited to inspire music composition and improvisation. The analysis of this suite provides a general descriptive overview of the form, harmony, and thematic development in each movement, offering a look into the rationale behind the music's architecture. / text

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Symphonie Militaire is a three movement work for twelve solo wind instruments composed by Edouard Batiste (1820-1876), a professor at the Paris Conservatoire and organist. The composition is scored for flute, two oboes, two B-flat clarinets, two bassoons, E-flat trumpet with valves, two F horns with valves, trombone, and B-flat ophicleide. In this edition, which was prepared from the original manuscript, the trumpet part is transposed to B-flat and a tuba has been substituted for the ophicleide. Based on a study of the score, as well as knowledge of wind band music of the period, several speculations have been made concerning the reason for the composition of the piece. The limited instrumentation supports the idea that, like other military symphonies, Symphonie Militaire may have been written for a special occasion. The work is, however, at least a reflection of the concern in 1845 for the reconstruction of the French military bands.

Chronomorphosis is a chamber ensemble piece for flute, clarinet, viola, cello, piano, and percussion. The work, comprising three movements is approximately fourteen minuted in duration. One of the most apparent characteristics of the work is its progression from non-metrical time organization involving aleatoric elements to metrical time organization involving changing meters but no aleatoric elements. The Pitch set is a constant element throughout the piece. The instrumentation selected exhibits a variety of color in all ranges: the flute in the upper register, the clarinet, viola, and vibes in the middle register, and the cello and the timpani in the lower register, the piano having access to all registers.

The Concert for Guitar and Chamber Orchestra, a three-movement work, is approximately seventeen and one-half minutes in duration. Adhering to the three movement concerto form, the work reflects the influence of several styles of twentieth-century orchestral music. In the first movement, two principal motives, significant throughout the work, are developed in a series of metered and non-metered events. The second movement consists of a set of guitar cadenzas framed by increasingly complex material in the orchestra. The third movement explores an application of the two principal motives in a rondo setting.

Te Deum is a single movement work for chorus and orchestra. It employs an ensemble comprising the complement of string, woodwind, and brass instruments typically available in a small symphony orchestra with an expanded percussion section. The choral forces are in proportional relation to the instrumental forces are in proportional relation to the instrumental forces and it is sung in the original Latin. The intended performance time is approximately 18 minutes. Temporal aspects of the work are characterized by three contrasting sections. The slow and solemn opening section is given to long stretches of silence sparsely punctuated by low drums. The remainder of the work is texturally more dense and employs a much quicker tempo. A steady core pulse is also a key feature, with attention given to avoiding any regular metrical implications by use offset accents, non-consecutive identical phrase lengths, and a slow harmonic rhythm.

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