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1
Cary, Tristram. „Portfolio of original compositions“. Title page and table of contents only, 2000. http://web4.library.adelaide.edu.au/theses/09MUD/09mudc333.pdf.
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Includes comprehensive bibliography the composer's works. Biographical notes and list of works -- The ladykillers: a suite for orchestra in three movements based on the music composed for the 1955 Ealing comedy -- Contours and densities at First Hill: fifteen landscapes for orchestra -- I am here, for soprano and tape -- Scenes from a life, for orchestra - one movement with three sections. Apart from Contours and densities at First Hill, which was commissioned by the University of Adelaide, these works submitted for D. Mus have not ben published commercially.
2
Lackey, William Joseph Mobberley James. „Ritual of the body electric a multimedia work scored for soprano, chamber ensemble and electronics /“. Diss., UMK access, 2009.
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Thesis (D.M.A.)--Conservatory of Music and Dance. University of Missouri--Kansas City, 2009."Five dances and nineteen musicians are featured in the work"--p. ii. "A dissertation in music composition." Advisor: James Mobberley. Duration: 30:00. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Nov. 25, 2009. Online version of the print edition.
3
Lillios, Elainie. „Earth Ascending: A Composition in Three Movements for Female Voice, Electroacoustic Music, and Video“. Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2627/.
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Earth Ascending is a composition in three movements scored for female voice, electroacoustic music, and video. Composed in the Year 2000, Earth Ascending lasts approximately sixteen minutes and was created specifically for live performance in which all three elements combine to create a sonic and visual environment. As such, no single element has greater importance than any other, with each of the three performing forces assuming a foreground role at various times throughout the work. Earth Ascending is defined by a single poem written by contemporary female British poets Jeni Counzyn, Jehanne Mehta, and Cynthia Fuller. The movements are named according to the title of each poem: Earth-Body, Light-Body; Wringcliff Beach; and Pool. The movements are separated in performance by five seconds of silence and black on the video screen. The paper accompanying the score of Earth Ascending is divided into five chapters, each discussing in detail an element central to the composition itself. The Introduction presents background information, general ideas, and approaches undertaken when creating the work. Chapters 1 through 3 investigate in detail the content of the electroacoustic music, voice, and video. Chapter 4 discusses scoring techniques, revealing approaches and methods undertaken to solve issues relating to notation and ways of accurately representing sound, pitch, and rhythm within the context of a mixed media work. Chapter 5 presents information relevant to the live performance of the piece.
4
Ferguson, Sean. „Vox Machina“. Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=69656.
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Vox Machina, for soprano, chamber ensemble, real-time digital signal processing and digital sounds, deals with the historical relationship between humanity and machines. The text uses excerpts drawn from a variety of sources, all in the public domain, as well as material written especially for the piece by the composer. The instrumental ensemble consists of 8 performers: flute, b-flat clarinet, horn, violin, viola, cello, guitar and percussion. A conductor is required, as well as a technician to control a mixing board and the performance of computer-generated sections of music. Digital sounds may be performed directly from computer, or may be played from DAT cassette.
5
Bober, Nicholas Bradburn. „This Creature, Bride of Christ“. Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28395/.
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This Creature, Bride of Christ is a composition for soprano, alto flute, viola, marimba, and computer running custom software for live interactive performance in the Max/MSP environment. The work is a setting of excerpts from The Book of Margery Kempe, an early autobiographical manuscript depicting the life of a Christian mystic. The thesis discusses the historical, sociological, and musical context of the text and its musical setting; the use of borrowed materials from music of John Dunstable, Richard Wagner, and the tradition of change ringing; and the technologies used to realize the computer accompaniment. A score of the work is also included in the appendix.
6
Walls, Jay Alan. „Autographs 1928 : Four Songs for Soprano and Chamber Ensemble“. Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc279054/.
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Autographs 1928: Four Songs for Soprano and Chamber Ensemble is a composition of approximately 16 minutes' duration and is scored for mezzo-soprano, flute, oboe, clarinet, horn in F, viola, violoncello, one keyboardist (piano and celesta), and two percussionists (marimba, xylophone, chimes, timpani, bass drum, temple blocks, triangle, and slapstick). The work consists of four songs and four readings with texts from Walls's maternal grandmother's autograph book. The composition opens with a reading and alternates between readings and songs. The music is intended to reflect the playful, tender and humorous nature of the lyrics.
7
Frehner, Paul (Paul Anton). „Souvenirs du vent : pour soprano et orchestre de chambre = for soprano and chamber for orchestra“. Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=28027.
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Souvenirs du vent is a composition for soprano and chamber orchestra with a duration of approximately 16'.30". The piece consists of three movements, a prelude, two interludes and a postlude. The poems set in the three movements were chosen for their similar subject matter, the wind. This common subject is emphasized by a music in which both the large-scale and small-scale formal divisions are blurred through structural counterpoint. The poets of the three poems are all from the Montreal area; they are: Emile Nelligan, Claude Brouille and Remi-Paul Forgues.
8
Mitchell, Mark Howard. „Season songs : a song cycle for voice and orchestra“. Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/32242.
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Season Songs is a song cycle for mezzo-soprano (or tenor) and medium sized orchestra (a perfoming version for voice and piano is appended). There are four songs and an orchestral prelude. The poems are by various authors and provide the programmatic elements of the cycle in that each poem is set in a different season of the year and time of day: winter/morning, spring/afternoon, summer/evening, and autumn/night respectively. The title of the prelude sets it just before dawn. The music of the prelude and the last song is closely related both motivically and tonally, thus reinforcing the cyclical nature of the work.
The accompanying commentary seeks to explain the compositional processes and aesthetic principles which guided the creation of Season Songs. The music explores nonfunctional
tonality, in that means other than traditional tonic-dominant (i.e., V-I) relationships are sought by which to create a sense of forward propelled harmonic motion. This sense of harmonic "trajectory", in conjunction with appropriate rhythmic proportions, is held to be one of the most important factors contributing toward the sense of departure and return, tension and resolution in the music. The main means used toward this end is a four-note source cell which governs much of the harmonic and motivic activity in the work, from the most local level of leading motives of individual songs to the broadest level of key relationships among songs. The harmonic manifestation of the source cell promotes root movement by major thirds and minor seconds on the local as well as broad levels. Sonorities associated with traditional tonality, such as open fifths in the bass and major or minor triads, are common, although the contexts in which they are heard are usually non-traditional. The metric pulse is usually distinctly articulated and readily intelligible, although changes in metre are frequent in most of the songs.
The text setting aspires to a directness of expression. The words will be intelligible in performance and the music reflects and magnifies the emotional content of the the text. While there are several levels on which the music can be appreciated, over-obscurity is avoided, as a rule, especially in the composition of the musical surface.Arts, Faculty of
Music, School of
Graduate
9
Hall, Emily. „Inside is the sky : for mezzo soprano and chamber orchestra“. Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83168.
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Inside is the Sky is a musical composition for mezzo soprano and chamber orchestra. It is a collection of four songs using poems by renowned Canadian poet Lorna Crozier: A Summer's Singing, In Moonlight, Tautologies of Summer, and Inner Space. The composer wishes to connect music and poetry on a fundamental level. The approach is to write music that responds not to the mere surface of the poems, but rather to their central poetic themes, by means of parameters intrinsic to music: harmony, rhythm, melody, and registral expanse.
10
Monroe, Deborah J. „Prayers of Adoration, Confession, Thanksgiving and Supplication: A Composition for Soprano and Chamber Ensemble“. Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4584/.
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This paper examines the relationship between text and music in Prayers of Adoration, Confession, Thanksgiving and Supplication - a four-movement composition, fourteen minutes in length, for soprano, clarinet, bassoon, trumpet, trombone, violin, double bass, and percussion. The text of the composition is taken from the Psalms and The Book of Common Prayer. The names and themes of the movements follow an ancient pattern for prayer identified by the acronym, A.C.T.S. Compositional considerations are contrasted to those of Igor Stravinsky and Steve Reich, with special emphasis on the use of musical structures, motives, and text-painting to highlight the meaning of religious texts.
11
吳俊凱 und Chun Hoi Daniel Ng. „Original compositions for young musicians“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1993. http://hub.hku.hk/bib/B31212608.
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12
Wood, Kelly Thomas Cummings E. E. „Now all the fingers of this tree“. connect to online resource, 2003. http://www.library.unt.edu/theses/open/20031/wood%5Fkelly/index.htm.
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Thesis (M.M.)--University of North Texas, 2003.Duration: ca. 19:00. For 9 part solo soprano, where one performer records each of 9 vocal lines (1st movement); electro-acoustics (2nd movement). Includes bibliographical references (p. xxxi).
13
Chan, Sze-rok, und 陳詩諾. „Inspired by the Hindu tradition: compositionsand reflections“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B37933966.
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14
Tseng, Yu-Chung 1960. „Song of Pi-Pa“. Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc279013/.
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Sona of Pi-Pa is a composition set to a poem to be performed by soprano and mixed instrumental ensemble. The formal plan is through-composed and the organization of each individual piece is largely determined by the structure of the poetic text. The text, drawn from Song of Pi-Pa by Po Chu-i, depicts the story of how the poet became overwhelmed by the chance hearing of a virtuosic performance of a woman playing the pi-pa. The general characteristics of the work reflect the assimilation of certain non-western musical and philosophical influences. Traditional western compositional techniques are also employed in the treatment of thematic materials, musical form, instrumentation, and the developmental process. The total performance time for this composition is approximately twenty-six minutes.
15
McBride, Melissa Lyn. „For Unto Us…“. Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc501092/.
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For Unto Us is a one movement work for soprano and orchestra. The text, by the composer, describes the thoughts and feelings of Mary, the mother of Jesus, as she watches the crucifixion. Mary's process of faith is traced through the sequence of dramatic events which proceed and follow the crucifixion. The work explores symbolic instrumentation, juxtaposition of harmonic languages, and extended techniques for performance and notation. The setting of the text combines traditional operatic idioms with new elements in the music. The duration of this dramatic, quasi-operatic scene is approximately nine minutes.
16
Sosa, Ortega Jorge Raymundo Rudy Paul. „Refractions a collection of three pieces for solo instruments and fixed electronic media /“. Diss., UMK access, 2008.
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Thesis (D.M.A.)--Conservatory of Music and Dance. University of Missouri--Kansas City, 2008.First piece for amplified clarinet and fixed electronic media, the second piece for electric guitar and fixed electronic media, and the third piece for amplified high voice (soprano or tenor) and fixed electronic media. "A dissertation in music composition." Advisor: Paul Rudy. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Apr. 14, 2009 Online version of the print edition.
17
Figg, Graham Elliot. „Just Intonation and the Revitalization of Neoclassicism: Three Works for Baroque Instruments“. Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-6113.
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Thesis (M.M.)--University of North Texas, 2008.First work for harpsichord; 2nd work for baroque cello and harpsichord continuo; 3rd work for tenor and baroque ensemble (trumpet, cello, timpani, organ and harpsichord). System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 48-50).
18
Wood, Kelly Thomas. „Now All the Fingers of This Tree“. Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4166/.
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Now All the Fingers of This Tree is a work in two movements based upon a poem of the same name by E. E. Cummings. It is divided into two movements: The first movement is scored for nine part solo soprano, where one performer records each of the nine vocal lines. The second movement is an electro-acoustic work derived from four phrases of the original recording of the first movement. Total duration of the work is approximately 19 minutes. The paper provides a detailed analysis of both movements as well as a discussion on usage of text, problems addressed with traditional notation techniques, and technology utilized in the production of the work.
19
„A portfolio of music compositions“. 2006. http://library.cuhk.edu.hk/record=b5896515.
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The giving tree : for soprano, tenor, violin, cello and piano / text by Shel Silverstein -- Duo 《琴笙曲》 : for 2 harmonicas -- Clarinet duet : for clarinet and live electronics -- Playing game : for orchestra -- Sculpture II 《浮塑二》 : for pipa and Chinese orchestra -- Volcanicity 《原・始》 : for sheng and Chinese orchestra.The giving tree : for soprano, tenor, violin, cello and piano / text by Shel Silverstein -- Duo "Qin sheng qu" : for 2 harmonicas -- Clarinet duet : for clarinet and live electronics -- Playing game : for orchestra -- Sculpture II "Fu su er" : for pipa and Chinese orchestra -- Volcanicity "Yuan, shi" : for sheng and Chinese orchestra.
Tang Lok-yin.
Thesis (M.Mus.)--Chinese University of Hong Kong, 2006.
Librettos (1st work) in English ; abstracts in English and Chinese.
Chapter Composition 1 --- "The Giving Tree for Soprano, Tenor, Violin, Cello and Piano"
Chapter Composition 2 --- Duo (琴 II 曲〉 for 2 Harmonicas
Chapter Composition 3 --- Clarinet Duet for Clarinet and Live Electronics
Chapter Composition 4 --- Playing Game for Orchestra
Chapter Composition 5 --- Sculpture II {{214753}塑二〉 for pipa and Chinese Orchestra
Chapter Composition 6 --- Volcanicity 《原´Ø始）for Sheng and Chinese Orchestra
20
Copeland, Warren. „Time for bee: a recital of compositions“. Thesis, 1994. http://hdl.handle.net/2429/5123.
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Time for Bee consists of a series of ten original musical/theatrical compositions created
between September 1992 and January 1994, first performed on the evening of January 28,
1994 in the Recital Hall of the University of British Columbia. While each of the works
can be performed individually, it was the composer’s intent to create a recital which is
logical in its progression. This should suggest that in some way the pieces belong together
as a larger whole.
The concept of “waiting” circulates throughout all the works, in the sense that the actual
material is either minimalist (and so one is forced to “wait” for changes), or the philosophy
behind a given piece is similarly based, but may not be evident in the sounding music. The
studies in the music machine, for example, try to incorporate necessary stage changes
between pieces (and the waiting the audience goes through) into musical events about such
waiting.
A secondary interest concerns the concept of contradiction. The majority of the works are,
for example, based upon high-sounding textures (flute, violin, clarinet, high piano and
mallets, etc). The studies in the music machine attempt to introduce low-sounding textures
as a contrast, however, and throughout the recital a timpani and a bass drum sit off to the
side of the stage, unplayed. These ideas, and others, are meant to serve as a contradiction
to the unified high-sounding textures of the majority of the recital.
Individual pieces are similarly based upon concepts of contradiction and waiting. Memory,
as a concept, plays a prominent role in several pieces as well.
21
Nass, Daniel Raymond. „Scattered needles“. Thesis, 2007. http://hdl.handle.net/2152/3126.
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22
Nass, Daniel Raymond 1975. „Scattered needles“. 2007. http://hdl.handle.net/2152/13313.
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23
Grant, Quentin Stuart David. „Portfolio of original compositions“. 2008. http://hdl.handle.net/2440/51095.
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This submission comprises a portfolio of fifteen original musical works and an exegesis that comments on five of these works. Recordings of twelve of the fifteen compositions are included. These pieces demonstrate an ongoing investigation into structure, and the discussion will provide an insight into the constant process of experimentation and consolidation involved in developing such a body of work. In the exegesis I open with a general conversation on the compositional process and then focus on the formal problems inherent in this process. I then discuss the five scores included in the main volume, looking at how each are formed, and comparing their formal characteristics. This involves an analysis of the musical materials and how such materials are treated through repetition and transformation. I will also look at the aesthetic and stylistic concerns and how they inform the formal architecture of each work. An appendix includes the scores of a further ten works, with a brief introductory commentary on each.http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1351235
Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2008
24
Wilson, Eric C. „Eighteen sonnets by Henry Wadsworth Longfellow for soprano, mezzo-soprano, tenor and baritone solo voices and orchestra“. 2011. http://liblink.bsu.edu/uhtbin/catkey/1660967.
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This dissertation is a tonal modular work for soprano, mezzo-soprano, tenor, and baritone solo voices and large orchestra (3343, 4331, Timp.+4, Hp., Pno., Strings) with an accompanying
narrative. The text is drawn from eighteen of Henry Wadsworth Longfellow’s sonnets. This
work consists of four interlocking song cycles, one for each solo voice, and two added songs for the combination of two or more of the solo voices. There are shared tonal and thematic
relationships across the work as a whole as well as within and among the individual song cycles. The unique modular nature of the work allows for performance of the whole, but also allows for extracting the individual song cycles—or even individual sonnets from the work as free-standing
pieces, complete in themselves. The modular nature of this work makes it attractive as a
programming option for orchestras and choirs with featured guest soloists, and also as an
addition to singers’ repertoires.
Chapters 3–7 of the narrative address the songs in each individual module or cycle, thus providing a useful reference for a singer wishing to program one or more of the songs for her or his voice classification. The complete transposed orchestral score follows the conclusion of the narrative. This dissertation holds potentially helpful information for research on the topics of
contemporary classical music, Indiana composers, and/or orchestral song cycles.School of Music
25
Muyco, Maria Christine. „Compositions“. Thesis, 1998. http://hdl.handle.net/2429/7965.
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The succeeding pages contain scores of my music—Passage to Kublb, Dalamhati ni Osang, Pintig,
and Talibun-ag.
"Passage to kublb" , for large orchestra, is a travelogue. Using a certain number of intervals, the
instruments go through a journey, signifying life's constant changes and ceaseless motion. Melodic and
rhythmic motives are used, fragmentation, and variation of timbral colors. "Kublb" is a fictional place; in
essence, a destination of one's life journey.
"Dalamhati ni Osang" (Lament of Osang) for a soprano, bass clarinet and marimba, is a composition
revolving around a hextatonic scale which goes through a process of change as the music progresses.
The text, written in the Filipino language, conveys the lament of a woman wanting to escape from her
sorrows as she pleads her beloved to "lull" her; thus the repeated phrase "iduyan mo, o hirang" which
means lull me or cradle me, my beloved. The woman's concept of "sleep" is an end-goal from which she
frees herself of bitter memories of the past. The nuances of the vocal lines point to some native materials
common to the Filipino "kundiman"(ballad). Use of expressive lines in legato phrasing, repeated sections
(ABA form), and in some instances, use of embellishments like the repeated grace notes. The hextatonic
scale is the composer's own material injected to some pre-formed structure already existing as in the
mentioned ballad.
"Pintig" (Pulses of Mother Earth) which was originally written for the "Elektra Women's Choir" during
a pre-Christmas choral reading is a study of tribal vocables and different vocal effects. Stomping of foot,
tapping, and other ritual sounds are employed to concoct an amalgam of primitive or earthy vista. (Note
that the recording provided with this thesis is simply a reading session of the piece).
"Talibun-ag " is a coined title from the Filipino words "tali" and "bun-ag" (bondage and birth) which if
combined literally can mean "birth of freedom". This is a music drama for a chamber ensemble (piano, alto
flute and percussions), a mono-dramatist and a choral quartet.
26
Cawrse, Anne Rebecca. „Portfolio of original compositions and exegesis: a personal exploration of modal processes“. 2008. http://hdl.handle.net/2440/49470.
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This submission consists of three parts, found in two volumes. Volume 1 consists of a folio of eight original compositions, composed during the tenure of my PhD candidature at the University of Adelaide. These works cover a range of media, including symphony orchestra with soloist, large chamber ensemble, string quartet with soprano solo, guitar quintet, mixed choir and vocal trio. Volume 2 presents an exegesis that contains commentary on the genesis and analysis of the submitted works, together with an explanation of certain modal processes that have been explored and applied. Volume 2 also contains three minor compositions that were composed during my candidature, presented as an Appendix. These are analysed and referenced within the exegesis discussion. Two CDs of live recordings of some of the submitted works are included as part of Volume 2. The Exegesis, Appendix and Sound Recordings found in Volume 2 act as secondary material to support the primary material presented in Volume 1. Of the eight compositions presented in Volume 1, Skin, Metal, Wood – Concerto for Percussion and Orchestra is the major orchestral work of over 30 minutes, in fulfilment of submission requirements. The musical works contained within this submission offer a personal exploration of certain modal processes. In particular, the tonal principles of modulation and key relationships have been transferred into a modal system that features church, folk and synthetic modes. The exploration of modal processes has been carried out through the works themselves, and the accompanying exegesis acts as a commentary on the genesis of the works.Thesis (Ph.D.) - University of Adelaide, Elder Conservatorium of Music, 2008
27
„A portfolio of music compositions“. Thesis, 2011. http://library.cuhk.edu.hk/record=b6075468.
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Dead water : song cycle for tenor and piano -- Shan shui : for string quartet -- Kuang fu : for SSAAATTBB and yangqin -- If life is unknown : for wind quintet -- Symphony II : Marrison for chamber orchestra, male choir, erhu and zheng -- Jazzy illusion of a Chinaman : for clarinet/bass clarinet, piano/electric keyboard, electric guitar, drum set, cello and double bass -- Liao Zhai : Chinese strange tale for recorders , percussions, soprano, tenor and baritone -- A madman's diary : piano solo work.Tam, Chin Fai.
Thesis (D.Mus.)--Chinese University of Hong Kong, 2011.
Includes bibliographical references (leaves 391-392).
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Electronic reproduction. Hong Kong : Chinese University of Hong Kong , [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstract also in Chinese; includes in Chinese.
28
Crutchley, Ian Joseph. „A recital of compositions“. Thesis, 1993. http://hdl.handle.net/2429/1321.
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Each composition in the following document has resulted from my desire to explore problems and possibilities that are to be found in the various ensembles and/or techniques chosen. For each new composition a particular issue or set of issues was established at the outset and dealt with from different angles at all stages of the works' creation. [1] Chansons Precieux: In these three songs I was interested in reducing my material choices to a minimum and also in creating a small fragment for the text which could be exploded into syllabic utterances. These were, over the course of the three songs, utilized in small groups. Only in the final song is the entire text revealed. [2] Across The Gorge Is The Bridge: Synthesized and concrete sounds constitute the palette of this tape piece. In processing the sounds I selected evolutionary characteristics with the intention of exploiting these characteristics in a particular manner - the notes in the piece are of extremely long duration (c. 12') and so the evolution takes place at a very slow pace. In a sense time is slowed down in the work, almost to the point of absolute stasis. [3] Triangle: Here I examined the concept of an imagined triangular pathway in which each intersection of two lines consisted of the same object viewed in a different way. The lines themselves are manipulations of the object. The original inspiration for this piece came from reading about Stonehenge and other such prehistoric laboratories designed as viewing points for the sun and moon and their risings and settings at key times of the year. [4] Anya Manas: A small item, in this case a chord, is never presented literally, but begins its life in this piece by already having been bent, altered, linearized and otherwise mutilated. Eventually the chord has completely lost its own sense of its own reality. "Anya Manas" is a Sanskrit saying that refers to a state of mind in which confusion of identity prevails. [5] Wo Weilest Du?: This work involved the desire to eliminate such traditional concepts as motivic development, regular phrasing and clear form. Sound objects appear, vanish and may or may not return later. There is no formal goal or climax. The piece simply begins and ends where it does. The title is German and means where are you waiting? It comes from Wagner's Tristan und lsolde.
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Kovarik, Christopher Matthew. „Graduate recital“. Thesis, 1995. http://hdl.handle.net/2429/3727.
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The scores here collected represent all the music heard in the recital of 3 April,
1995 (programme on p. iii), save "Shimmering Reflections on a Dark Carrall
Street Night." This is an electroacoustic piece which does, however, appear on
the accompanying recording.