Treatise (DMA)--Florida State University, 2003. / Advisor: Eliot Chapo, Florida State University, School of Music. Title and description from treatise home page (viewed 11-19-03). Document formatted into pages; contains 119 pages. Includes biographical sketch. Includes bibliographical references.

Dissertation (PhD) Florida State University, 2006. / Advisor: John Geringer, Florida State University, College of Music. Title and description from dissertation home page (viewed 7-9-07). Document formatted into pages; contains 138 pages. Includes biographical sketch. Includes bibliographical references.

Thesis (M.A.)--University of California, Santa Cruz, 1995. / Typescript.

Thesis (Ph. D.)--University of North Texas, 2002. / Includes bibliographical references (p. 302-314).

我在二零一一至二零一二年度期間創作的音樂作品涵蓋各種樂器配置與規模，意在以各種不同的載體去發揮音樂創意。本作品集精挑細選於上述期間創作的三首作品集成，包括一首室內樂團作品，一首管樂團作品，以及一首五重奏室內樂作品。每首作品以不同的音樂元素為焦點，諸如音高、音色、織體、節奏；這些焦點皆以引出創藝潛能為目標，增加在未來創作中所能靈活運用的音樂素材。每首作品的音樂元素焦點如下： / 《魘逐》為室內樂團作品，以節奏為焦點。錯落的節奏以及各種節奏上的音樂趣味，透過音高材料有限的運用及發展得以突出，是以本作在和聲和旅律方面的音高大部分是為由單一的音級集合所掌控。 / 《夜潮》為管樂團作品，主要探索木管、銅管與毃擊各種樂器協作間的漸變音色和織體。低音大鑼為本作的重要角色，奏出一輪混沌的泛音群，與管樂團內的各種樂器融為一體。音色組合的漸變為本作添加音樂上的趣味，而由升F多利安調式所限制的音高素材則能突顯音色與織體的發展。 / 《蜃景》是寫給五件樂器的室樂作品，特意探索弦樂器的微觀音色變化，包括小提琴、中提琴、低音大提琴，主要以漸變而誇張的運弓位置轉換達成。弦樂的一組與雙簧管、巴松管的一組時而相互配合，時而各自發揮，而雙簧組合的音色亦透過各種演奏技巧或音域加以變化。音高素材為簡約的兩個四音和弦，其相扣而成的音階在曲中慢慢成形。跟《夜潮》相比，《蜃景》的音色與織體變化在室內樂的設定中，更容易讓聽眾體驗到當中細緻精密的音樂設計。 / Aiming to channel musical creativity into an array of vehicles, my works composed in 20112012 involve instrumental forces of varying line-up and sizes. Three carefully selected works from the said compositional output are featured in this portfolio: one work for chamber orchestra, one work for symphonic band, and one chamber work for five instruments. Each of them focuses on a different parameter of music ranging from pitch, timbre, texture, to rhythm; by imposing such a focus, it fulfils my intention of stretching my creative potential in all these different parameters, in hopes of expanding the breadth of my musical vocabularies that I could employ with ease and flair in my future works. The parametrical foci are explained as follows. / The Nightmare Escape, a chamber orchestral work, is a composition that focuses on the rhythmic aspect. The irregularities and musical interests in rhythm are emphasized through the economic, if not limited, employment and development of pitch materials that are, for the majority of the piece, organized by pitch-class set harmonically and melodically. / Les Marèes de la nuit, a piece for symphonic band, explores the gradual change of instrumental colour and textures within the domain of winds, brass, and percussions. A key instrument featured in this piece is the tam-tam, which creates a cloud of overtones that seamlessly blend with any of the instrumental sounds from the orchestra. The gradual shifting of sound combination creates the musical interest in this piece. The confining of pitch materials within the F-sharp Dorian mode contributes to the central idea of timbral and textural development. / Fata Morgana, a chamber work for five instruments, experiments with microscopic timbral effects in the strings, namely violin, viola, and double bass, through the employment of gradual yet exaggerative shifting in bow position. At different intervals, this cohort works together or against the double-reed cohort of oboe and bassoon, whose timbral possibilities are also explored through different playing techniques and registers. The pitch material is further streamlined to two interlocking tetrachords that slowly unfold a synthetic scale. Compared to Les Marèes de la nuit, Fata Morgana features more minute timbral and textural changes within a chamber ensemble setting, making the refined and delicate design more readily audible to the audience. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Chan, Kai Young. / Thesis (M.Mus.)--Chinese University of Hong Kong, 2012. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts also in Chinese; includes Chinese. / Abstract --- p.i / Acknowledgements --- p.iv / Table of Contents --- p.v / The Nightmare Escape (2011) 《魘逐》 --- p.1 / Les Marèes de la Nuit (2012) 《夜潮》 --- p.21 / Fata Morgana (2012) 《蜃景》 --- p.64

This study is about Johann Christian Bach's Opus 11 Quintets for flute, oboe, violin, viola, cello and continuo. The main focus of the research concerns the use of sonata form in these pieces. All the first movements are in sonata form, which was a common practice of his time. The two slow second movements are in sonata form also. In addition, one of the slow movements is sonata form without a development section.This period of time was rich in experimentation. Within Bach's work the variety within these eight sonata-form movements is explored. Essential features of the sonata form as well as Bach's unique originality are evident.In order to be able to historically place these works, the sonata-form movements of Bach's contemporaries and Bach's other types of instrumental works are compared to Bach's Opus 11. Works included for the discussion in this dissertation are the quartets and quintets in mixed instrumentation including one or two woodwind instruments. The closest possible instrumentation to Opus 11 is that of flute and oboe.Bach's music is Italian in tone; however, the Germanic inheritance is evident in the use of polyphonic texture, harmonic depth, and richness of instrumentation. His concern for instrumental color is highly advanced for his time and he virtually pioneers this color effect in an ensemble works. His skillful use of sonata form and instrumentation is the pathway that Mozart promoted.

Thesis (Ph. D.)--University of Chicago, Department of Music, June 2003. / For flute, B♭ clarinet, soprano saxophone, bass clarinet, violin, viola, violoncello, double bass, and percussion (marimba, vibraphone, flexatone, castanets). Also available on the Internet.

Thesis (Ed.D.)--University of Illinois at Urbana-Champaign, 1997. / Includes bibliographical references (leaves 95-103).

Thesis (Ph.D.)--University of Chicago, 2003. / For flute, 2 clarinets (B-flat, bass), saxophone (soprano), violin, viola,violonchello, double bass, and percussion (marimba, vibraphone, flexatone, and castanets). Duration: ca. 19:20. Also available on the Internet.

Musical analysis has traditionally been located within the context of musicology. It is therefore an activity usually considered the purview of music scholars rather than practical musicians. The musical analyses produced by music scholars therefore provide us with intellectual understandings of musical works, rather than insights into the experience of listening to or playing music. In this thesis, I will propose that those agents involved in practical music-making can produce insights into musical works that are as valid as the work of traditional music scholarship. I will attempt to re-conceptualize the position of the ‘knower’ or ‘experiencer’ - the performer - of music as one with primary access to knowledge of a musical work, and therefore ideally suited to offer analyses of these works. The establishment of the performer as a bearer of central analytical knowledge functions in direct opposition to the traditional distinction between ‘theory’ and ‘practice’. My thesis will trace the Platonic origins of the philosophical separation of practice and research, and as an alternative to the traditional separation of practice and research, I shall explore the concept of Practice-Based Research (PBR). My exploration of PBR will be informed by phenomenological approaches to music scholarship. As a field of enquiry which concerns itself with experience, the phenomenology of music suggests that the mind and body of the practitioner are important sources of musical insight. To address this issue, Bourdieu’s notion of habitus will be explored. The habitus will be shown to contain a vast network of socio-cultural codes informing the practitioner’s relationship with the musical work. A central aim of this thesis is to explore the possibilities of using practice-based research as the foundation for the study and analysis of a composition, in order to allow for a deeper understanding of the work by means of the generation and harnessing of practical knowledge. Thus, the theoretical outline of PBR provided in this thesis will be applied to a piece of practical performance-based analysis. As such, an analysis of Mahler’s Quartetsatz will be used as the basis on which to draw knowledge in this project.