Pleroma is a digital drama: a work composed of digital animation combined with electroacoustic music, presenting an original dramatic narrative. Pleroma's dramatic elements evoke both the classical form of tragedy and the concept of perceptual paradox. A structural overview of the drama and its characters and a plot synopsis are given to provide context for the critical discussion. Analytical descriptions of Beethoven's Coriolan Overture Op.62 and Mahler's Symphony No. 9 are provided to give background on tragic form and Platonic allegory in music. An investigation into the elements discussed in the analysis of the instrumental works reveals several layers of possible interpretation in Pleroma. Dramatic elements allow for tragic narratives to be constructed, but they are complemented by character associations formed by pitch relationships, stylistic juxtapositions, and instrumentation. A copy of the dramatic text is included to supplement the multimedia production: http://digital.library.unt.edu/ark:/67531/metadc33228/

Understatements for two-channel fixed media is a four-movement study of the sonic potential of acoustic instruments within the practice of electroacoustic studio composition. The musical identity of the entire composition is achieved through consistent approaches to disparate instrumental materials and a focused investigation of the relationships between the various acoustic timbres and their electroacoustic treatments. The analytical section of this paper builds on contemporary research in electroacoustic arts. The analysis of the work is preceded by a summary of theoretical and aesthetic approaches within electroacoustic composition and the introduction of primary criteria of sonic faktura (material essence) used in the compositional process. The analyses address the idiosyncratic use of the concept of faktura to contextualize and guide the unfolding of the work. The reconciliation of the illusory electronic textures and the acoustic sources that parented them may be considered the ultimate goal of Understatements.

Pleroma is a digital drama: a work composed of digital animation combined with electroacoustic music, presenting an original dramatic narrative. Pleroma's dramatic elements evoke both the classical form of tragedy and the concept of perceptual paradox. A structural overview of the drama and its characters and a plot synopsis are given to provide context for the critical discussion. Analytical descriptions of Beethoven's Coriolan Overture Op.62 and Mahler's Symphony No. 9 are provided to give background on tragic form and Platonic allegory in music. An investigation into the elements discussed in the analysis of the instrumental works reveals several layers of possible interpretation in Pleroma. Dramatic elements allow for tragic narratives to be constructed, but they are complemented by character associations formed by pitch relationships, stylistic juxtapositions, and instrumentation. A copy of the dramatic text is included to supplement the multimedia production.

Fractus I is a composition for trumpet in C and live electronic sound. The electronics were primarily created using SuperCollider, an environment and programming language for real time audio synthesis. This project investigates SuperCollider's pattern and task functionality as a means of supporting and enriching the compositional process. Fractus I develops several different code architectures in order to randomize as well as synchronize various musical elements. The piece exploits SuperCollider as both an audio synthesis tool and a performance conduit. Additionally, the nature of SuperCollider's patterns and tasks influences the form and content of the composition. The project underscores SuperCollider as a powerful, versatile and open-ended tool for musical composition and examines future directions and improvements.

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.