In this paper I hope to define, quantify, and analyze the way in which a listener perceives and understands the passage of time during a musical experience—in other words, their temporal awareness. I explore this concept in three capacities. First, I examine the relevant theory, both philosophical and psychological, surrounding temporal awareness and define its two primary manifestations through demonstrative musical examples. Next, I apply this theory to the analysis of six different pieces of music composed between 1895 and 2016, focusing on what I believe are the two strongest catalysts of change of temporal awareness. Finally, I discuss how I incorporate this theory into my practice both as an instructor and as a composer. A thorough musical analysis of my 2018 work be created or is presented through the analytical and compositional lens of temporal awareness, including its descriptive and prescriptive implications.

Thesis--Indiana University, 2006. / Computer printout. Advisor: Lewis Rowell. Includes bibliographical references (leaves 233-240), abstract, and vita.

This treatise aims to investigate the components of good architecture. Good architecture is appropriate to its contexts, responds to its users, lets its users respond to it. Good architecture is beautiful. Good architecture is brought about by movement and in return it “moves” us. / Dissertation (MArch)--University of Pretoria, 2006. / Architecture / unrestricted

While the groundbreaking insights that contemporary theorists have formulated with regards to space---as a multiplicity without essence, as an active event, and as inseparable from subjectivity, power, Otherness and time---have ostensibly purged it of its traditional understanding as absolute, a specific visuality characteristic of Cartesian perspectivalism remains privileged in its theorization which force it to remain so. While the complexity of space cannot be recovered from an abstract contemplation of its visual geometry in a way that reflects these contemporary concerns, there have unfortunately been relatively few attempts to imagine space away from the visual in a way that challenges its traditional absoluteness. To this end, it is argued that because sound and music contain implicit and explicit spatialities, the sonic represents a rich and unexplored area from which to imagine a radical non-visual space that discursively organizes space according to a different economy through which to challenge its assumed visuality. And yet, even when space has been approached through sound, there is a tendency to exteriorize sound into an object or a set of practices that robs it of its defining quality---its own "soundfulness". By breaking down those factors that are considered salient to how space is conceived today along sonic rather than visual lines, the argument is made that the "soundfulness" of sound's physical properties gives it a complex texture of excess that is corporealized within the body and forwards the philosophical possibility of unfolding the spatiality of sound according to vectors beyond the visible in a way that, while reflecting contemporary concerns, prevents its return to absoluteness. To take seriously this "soundfulness" thus allows us to recuperate the sonic as a philosophical and political way of experiencing and knowing the world, including that of space. The arguments, as well as being drawn from the insights of contemporary spatial theory, the physics of sound, the phenomenology of listening, rhizomatic and feminist theory, quantum mechanics and musicology, will be explained through an understanding of space as sound and exemplified in The Disintegration Loops, a post-minimalist musical piece by sonic artist William Basinski.

Thesis (Ph. D.)--University of California, San Diego, 2008. / Title from first page of PDF file (viewed Jan. 8, 2009). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references: p. 281-295.

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Lai Nga Ting Ada. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2000. / Includes bibliographical references (leaves 86-101). / Abstracts in English and Chinese. / Abstract --- p.i / Acknowledgements --- p.iii / Prologue --- p.1 / Chapter Chapter 1 --- The Notion of Time --- p.3 / Chapter Chapter 2 --- The Music of Time --- p.17 / Chapter Chapter 3 --- The Technique of Musical Time --- p.27 / Epilogue --- p.80 / Appendix I --- p.82 / Appendix II --- p.83 / Bibliography --- p.86

Thesis (D.M.A.)--University of North Texas, 2002. / Accompanied by recitals, recorded Apr. 13, 1992 and Sept. 27, 1993. Includes bibliographical references (p. 37-39) and discography (p. 40).

Thesis (Ph. D.)--Universität Oldenburg, (2006?). / Includes bibliographical references (p. 311-315).

Thesis (Ph. D.)--University of California, San Diego, 2008. / Title from first page of PDF file (viewed May 14, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references P. 359-373.