Steve McCaffery is one of Canada's most prolific and innovative poet-theorists. Although he has attracted attention from major American critics, study in Canada has been limited to avant-garde journals, and occasional book reviews in mainstream media. Despite his important output of poetry, theory, performances, audio tapes, videotapes, prints and broadsides, McCaffery has never been the focus of a major study in this country, or elsewhere. It is the goal of this dissertation to provide the first complete overview of McCaffery's thirty-year career. Through close readings of selected texts, this dissertation classifies McCaffery's output into various chronological stages. These include an early concrete phase, a mid-career Marxist phase, and a late postmodern phase. The dissertation also classifies McCaffery's writings into various thematic endeavours. In particular, McCaffery recurrently foregrounds the materiality of language, defies utility, conflates reading and writing, and emphasizes writing as translation. Much discussion of McCaffery's writing has been unsympathetic, dismissive , and misrepresentative, largely because reviewers seldom understand McCaffery's writing on its own terms. Consequently, this dissertation provides a detailed explanation of McCaffery's poetics alongside his poetry. Frequently Mcaffery's theory differs significantly from the poetry it purports to explain; at times, his poetics contradicts his poetry. Consequently, this thesis examines the disparity between McCaffery’s stated aesthetic and his poetry, in order to test the viability and limits of his project. Having described McCaffery's own intentions, this dissertation critiques McCaffery's writing from theoretical positions outside his own project. Using various feminist methodologies, it examines the complex way in which McCaffery genders language, noting three different, inconsistent trends in his poetry. Moreover, this thesis begins to articulate McCaffery's position within the Canadian canon. Although McCaffery himself is hostile to the notion of nationalism, he can be seen, ironically, as part of a long-standing Canadian tradition which interrogates its own identity. / Graduate

Th. Etat--Histoire de la musique et musicologie--Paris IV-Sorbonne--Ecole doctorale concepts et langages, 2004. / Bibliogr. p. 377-385.

Thesis (M.F.A.)--Baylor University, 2009. / Includes bibliographical references (p. 118-121).

Thesis (Ph. D.)--University of Wisconsin--Madison, 2003. / Includes bibliographical references (leaves 305-323). Also available on the Internet.

Thesis (M.F.A.)--West Virginia University, 2004. / Title from document title page. Document formatted into pages; contains vi, 99 p. : ill. (some col.). Vita. Includes abstract. Includes bibliographical references.

The Avatar for trumpet and piano by Dr. Steve Rouse is one of the most challenging compositions in the trumpet repertoire. Due to The Avatar's challenges and increasing popularity, a study is necessary to aid its performance. Each movement is performed on a different instrument: Bb piccolo (with an optional A piccolo part) for Nativity, Bb Flugelhorn for Enigma-Release and Bb trumpet for Rebirth. In addition, the performer must convey one of the work's possible programmatic meanings: (1) The Hindu belief of an Avatar and its life cycle, (2) the life of Christ or (3) the human lifecycle. Chapter 1 gives historical information about the work. Chapters 2-4 discuss each movement of The Avatar programmatically and pedagogically. Facets of each movement are analyzed including differences in programmatic choices, rehearsal techniques and sound concepts. Chapter 5 provides recording suggestions, including choosing a recording engineer, preparing and planning for a recording section, choosing a venue and the benefits of hiring a tonmeister.

Thesis (M.M.)--University of North Texas, 2002. / Includes bibliographical references (p. 78-80).

Thesis (M.A.)--York University, 2007. Graduate Programme in Music. / Typescript. Includes bibliographical references (leaves 60-67). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR29275

Thesis (D.M.A.)--University of Illinois at Urbana-Champaign, 1993. / Vita. Includes bibliographical references (leaves 163-166).

Premiered on November 1st 2016, Steve Reich’s new work Pulse: For Winds, Strings, Piano and Electric Bass epitomizes 51 years of compositional development. Understandably, no formal or analytical discussions exist of this work, a lacuna that inspires the present research questions: Where does Pulse fall in relation to Reich’s overall style and technique? Is it a logical continuation of his compositional evolution? Does it make use of the techniques that distinguish him or does it venture into new territories? To answer these questions, the thesis combines a historical survey of Reich’s compositional output with an analysis of Pulse that considers current analytic scholarship. An overview of the literature on the composer serves to determine the separate compositional periods of his output in relation to his most employed techniques. This amalgamation allows for a historically and stylistically contextualized analysis of Pulse. The resulting synthesis not only creates a new categorization of Reich’s compositional development, but also shows that Pulse embodies a summation of the composer’s musical technique.