Thesis (M.M.)--Conservatory of Music. University of Missouri--Kansas City, 2005. / For viola and bass clarinet with string quartet and piano. "A thesis in music composition." Advisor: James Mobberley. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Nov. 12, 2007. Online version of the print edition.

D.M.A. final project--Department of Music, Stanford University, 1999. / For six percussionists, dancer and compact disc of computer-generated sounds. "... a dancer ... triggers and controls the electronic sounds in real-time using the five electric sensors that are attached to his/her body. All the computer generated sound sources derive from the sounds of the percussion instruments used in this piece, and similarly, the percussion often imitates the sound of the computer-generated sound of the cd and the dancer"--P. iv. Includes instructions for performance.

A thesis about the String Septet. The author explains that it deals with problems concerned in the reconciliation of contemporary aesthetics with extensions of romantic harmony, classical and pre-classical form, classical figuration and ornamentation, and contrapuntal organization.

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.

Thesis (Ph. D.--Music)--University of California, San Diego. / Vita. For flute, violin, clarinet, violoncello, piano, percussion, and tape. Includes program notes and performance instructions preceding score.

This creative project was a musical composition constructed upon the "in series" principle of interval connection which entailed the systematic linkage of all melodic and harmonic materials through rigorously maintaining the configuration of intervals inherent in the original statement. The piece, a septet entitled A Solo Symphony, is an extended four movement composition. The score, and a recording made at the University Composers Exchange Fourteenth Annual Festival held at Ball State University in 1965, is located in the appendix which supplements a paper describing the compositional process. / School of Music

Research on the musical language as well as the technical realisation of the tape part to a kindred spirit, for ensemble and tape, was realised at the Electronic Music Studio of McGill University from September, 1984 to September, 1986. / The following excerpt from the programme note in the score summarizes the 'spirit' of the composition. / "The computer generated sounds on tape form a large body in which instrumental sounds float and from which they appear, like weeds oscillating on a sometimes calm and often turbulent sea of sound. / 'You're afraid, in the mirror, of the sea, in front of, you're afraid ... ' and 'searching, for a common pulse, to sustain, to carry on, searching ... ' are circular phrases in the text which reflect elements of both doubt and courage. Mourning that which can never return. Celebrating that which will always be with us."

Thesis (M.M.)--University of North Texas, 2008. / For flute oboe, clarinet, horn, bassoon, and marimba, with an optional percussion part (glockenspiel, chimes). Duration: ca. 6:45. System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 61-64).

No description available.

Thesis (M.M.)--East Carolina University, 1998. / Submitted to the faculty of the School of Music. Includes bibliographical references (leaf 13).