Thesis (M. Mus.)--University of Wisconsin--Madison, 1950. / For 2 violins, violoncello, and piano. Holograph.

Thesis (D.M.A.)--University of Wisconsin-Madison, 1991. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record.

The six-movement work is scored for two violins, a viola, and a violoncello. A new approach toward the decision making of the compositional process is revealed which structures the parameters of the composition along an arbitrary frame of reference. This reference is selected prior to composition and influences every aspect of the work. The reference chosen is an existing musical work used in quotation and for stylistic modeling, paraphrase, and variation. Consonance, dissonance, and thematic development are defined in terms of this source.

Musica para dos megainstrumentos y grupo de camara (Music for two Megainstruments and Chamber Ensemble) is a six-section piece written for two violins (treated as a megaviolin), two flutes (treated as a megaflute) and chamber ensemble. Both the form and the different tempi of the piece are determined by the interaction of the two mega-instruments and the ensemble. The piece is an original contribution in its concept and use of the megainstruments. A mega-instrument is composed by two single instruments of the same kind. The main function of the mega-instrument is that of expanding the technical possibilities of the individual instruments that constitute it, as well as creating new possibilities, while keeping, at the same time, the specific characteristics or "personality" of the original instruments. In the Primer ensamble and Segundo ensamble sections the two mega-instruments are incorporated into the ensemble and treated as four individual instruments. The basic pitch structure of the piece is represented by SC [014], which is further organized in a six-note scale that is a member of SC [014589]. The six-note scale (used in the piece as an unordered set) and its three available transpositions create a universe of four pitch regions with two different modulation levels to connect them. Pitch Regions are also used simultaneously in the piece. This procedure (that I have called a multi region) includes harmonic and/or melodic intervals that are not available within single pitch regions. The piece could be defined as atonal or without pitch centers. It is characterized by an interaction of the tempered system and the pitch continuum (microtones and glissandi).

No description available.

Thesis (M.M.)--University of North Texas, 2004. / Duration: 8:00. Includes bibliographical references (p. 25-26).

Musica para dos megainstrumentos y grupo de camara (Music for two Megainstruments and Chamber Ensemble) is a six-section piece written for two violins (treated as a megaviolin), two flutes (treated as a megaflute) and chamber ensemble. Both the form and the different tempi of the piece are determined by the interaction of the two mega-instruments and the ensemble. The piece is an original contribution in its concept and use of the megainstruments. A mega-instrument is composed by two single instruments of the same kind. The main function of the mega-instrument is that of expanding the technical possibilities of the individual instruments that constitute it, as well as creating new possibilities, while keeping, at the same time, the specific characteristics or "personality" of the original instruments. In the Primer ensamble and Segundo ensamble sections the two mega-instruments are incorporated into the ensemble and treated as four individual instruments. The basic pitch structure of the piece is represented by SC [014], which is further organized in a six-note scale that is a member of SC [014589]. The six-note scale (used in the piece as an unordered set) and its three available transpositions create a universe of four pitch regions with two different modulation levels to connect them. Pitch Regions are also used simultaneously in the piece. This procedure (that I have called a multi region) includes harmonic and/or melodic intervals that are not available within single pitch regions. The piece could be defined as atonal or without pitch centers. It is characterized by an interaction of the tempered system and the pitch continuum (microtones and glissandi). / Arts, Faculty of / Music, School of / Graduate

No description available.

No description available.

Ho Pak-Kei. / Thesis (M.M.)--Chinese University of Hong Kong, 2000. / Abstracts in English and Chinese. / English Horn Quintet --- p.1 / River and Land --- p.15