Iconographs is such a composition in which mathematical techniques are brought to bear. Nine separate number series have been generated and carried out to 1024 units. These series are combined by addition to calculate a single number by taking the remainder after dividing the sum of the series by nine. This mod 9 reduction is used to choose a set of pitches. Iconographs is a composition for microcomputer and chamber orchestra written in proportional notation with 1024 time segments grouped into 32 pages of 32 time segments each. The duration for each segment is .618034 seconds, which is the Golden Mean of one second, represented in a horizontal space of .34375 inches. The horizontal space/time-frame proportion is consistent but the actual duration of sounds are only approximate. The duration of the entire composition is 10.54778 minutes with a total horizontal space of 352 inches. The structure of the composition as a whole has no relationship to any of the traditional forms does contain a focus of formal structure at time-frame number 632, the Golden Mean. This focus is expressed by a density of sound events in all parts.

This composition is a single-movement work for three choirs and full orchestra, including celesta, piano, and four percussionists. Total duration is fifteen minutes. The music is divided into six sections, with the overall form being substantially influenced by the structure of the poem, War Is Kind, by Stephen Crane (1871-1900). Many devices are utilized to contrast tension and relaxation, as associated with ironic elements of the text, with repetition and development of musical elements and motives providing unity for the entire work.

Concertino consists of two movements, Paean and Dithyramb, either of which may be performed independently. Paean, a work of calm and majestic intensity, is characterized by a rhythmic pulse which is more consistently regular than that of the Dithyramb. Its three major sections form an arch, the final measures (mm. 87-95) returning to the material of the opening (mm. 1-14). The first section begins quietly, Maestoso ma sostenuto, in a very slow tempo. The activity and intensity increase until a brief, more active middle section begins in a faster tempo (Ancora piu mosso, m. 55). A fff climax (m. 63) begins in the third section (Tempo I). After a brief poco piu mosso (mm. 72-81), the opening tempo is restored (m. 82), the opening material returns (m. 87) and the final chord fades away. Dithyramb is a free and dramatic movement in which the musical material of the wind group usually contrasts with that of the string group. The piano, which has its own material, occasionally takes on the character of one group or the other as though mediating the conflict.

The English Walnut Joke is a composition for concert band and dramatic soprano. The English Walnut Joke was based on a text of the same title by Alec Rowell and is divided into two movements with a total duration of approximately twenty-two minutes. The joke concerns itself with the dealings between a wood-chopper and a jongleur in medieval England and is related to the audience by a destitute factory worker (the dramatic soprano) in the early Industrial Age of that country.

Chronomorphosis is a chamber ensemble piece for flute, clarinet, viola, cello, piano, and percussion. The work, comprising three movements is approximately fourteen minuted in duration. One of the most apparent characteristics of the work is its progression from non-metrical time organization involving aleatoric elements to metrical time organization involving changing meters but no aleatoric elements. The Pitch set is a constant element throughout the piece. The instrumentation selected exhibits a variety of color in all ranges: the flute in the upper register, the clarinet, viola, and vibes in the middle register, and the cello and the timpani in the lower register, the piano having access to all registers.

The Seven Last Words of Christ is a sacred cantata for SATB chorus with soloists accompanied by a woodwind quintet, brass quintet and three percussionists. The text employed in this work is based on the Gospel accounts of the crucifixion of Jesus Christ in the King James Version of the of the Holy Bible. The cantata consists of seven movements with an instrumental introduction and postlude, and has a duration of approximately twenty-seven minutes. The majority of the movements are slow in tempo, reflecting the somber mood of the text. The major goal of this work is to musically represent the drama and prevailing mood present at an event of extreme magnitude and importance in the lives of Christians around the world, and to provide additional literature for special church services through the use of individual movements.

"Concerto for Piano, Winds, and Percussion" is, as the title implies, a piece which features the solo piano in combination with an ensemble of winds and percussion. The instrumentation of the ensemble is two flutes; oboe; two Bb clarinets; Eb alto clarinet; Bb bass clarinet; bassoon; two Bb trumpets; two F horns; two trombones; baritone; tuba; and a percussion section of three players playing timpani, tambourine, xylophone, vibraphone, glockenspiel, chimes, triangle, suspended cymbal, snare drum, bass drum, two bongos, and small woodblock. The major sections of the piece are distinguished primarily by tempo. The fast-slow-fast arrangement of those sections aligns it with the traditional concerto format. The piece is in one movement and is approximately twelve and one-half minutes in duration.

Songs of Praise is a setting of four passages from the Psalms for soprano and chamber orchestra. The text is taken from Psalms 96, 114, 55, and 116 of the New American Standard Version, with each psalm scored as a separate movement. The duration of the work is approximately seventeen and one-half minutes. The instrumentation includes soprano, oboe, strings, and a percussion section of four players incorporating fourteen different instruments. The musical language employed is largely tonal, consisting generally of shifting tonal emphases achieved by exploiting the pitch relationships of traditional tonality. The movements are contrasting in character, according to the text, but generally of the same style. The vocal line predominates throughout spanning two octaves and a minor third from an A below middle C to a high C above the treble clef.

Promulgation is an interactive composition in which the orchestra and computer communicate through musical motives contained in the Command Motive Score. The musical content as well as the highly organized aleatoric environment is controlled by a system of probabilities. The orchestra is divided into four ensembles of dissimilar instrumentation. The music consists of several scores that are performed different ways. The first score is the Command Motive Score performed by the computer. The second is the Prelude Score performed by the orchestra. The third is the Continuum Score performed by the orchestra. The fourth is a group of scores called Auxiliary Scores performed by each respective ensemble. The fifth is another group of four scores performed by trumpet, cello, piano, and tuba.

This single movement work is written for 2 flutes, 2 oboes, 3 clarinets in Bb, bass clarinet in Bb, 2 bassoons, alto saxophone in Eb, 2 horns in F, 2 trumpets in Bb, trombone, euphonium, tuba, contra bass, and 3 percussion. The approximate length is eight minutes. Both traditional and proportional systems of notation are employed. The entire piece is freely chromatic with some implications of whole tone and other nondiatonic scales. The harmonies are tertian yet have no functional tonal basis. Changing meters with asymmetrical divisions are used in all sections except C and E, which have time indications (in seconds) for each measure with subdivisions to aid the conductor. There are seven major formal divisions: A B transition C retransition A' D E.

LAND OF DREAMS is an opera in one act based on poems by the English poet William Blake. The work is for chamber orchestra, dancers, and an actor, as well as the vocal cast listed below. Cast of Characters Thomas Soprano The Father Baritone The Nurse Alto The Mother Mezzo Soprano The opera divides into eight sections with a total performance time of approximately forty minutes. Each section represents a different stylistic approach to the musical material. This juxtaposing of various styles is reflective of the eclectic nature of the text. The setting is England around 1800, the scene is a child's (Thomas) bedroom. All of the dramatic action takes place in this room in the various stages of the conscious (awake) and unconscious (asleep) states of the child's mind.

The ballet, based on the story of Susanna as found in the Apocrypha, is scored for chamber orchestra consisting of flute doubling piccolo, oboe, Bb clarinet, bassoon, horn in F, two Bb trumpets, trombone, piano, harp; two percussionists playing timpani, tambourine, xylophone, glockenspiel, chimes, small triangle, large triangle, small suspended cymbal, large suspended cymbal, two crash cymbals, antique cymbals, snare drum, piccolo snare drum, bass drum, bongos, three tom-toms, sleigh bells, large gong, temple blocks, bell tree, metal wind chimes; and a string quintet of two violins, viola, violoncello, and contrabass. The music consists of an overture lasting approximately three and one-half minutes, and three scenes lasting approximately eight and one-half, nine and one-half, and ten minutes respectively. The entire ballet is approximately thirty-one and one-half minutes in duration.

Mass is written for large mixed choruswind ensemble consisting of woodwind quartet (flute, oboe, Bb clarinet, and bassoon), brass quintet (two Bb trumpets, F horn, trombone, bass trombone), and recorded digital synthesizer. This setting of the Ordinary is in Latin and includes the Kyrie, Gloria, Credo, Sanctus, and Agnus Dei. The duration of the work is approximately twenty-seven minutes.

White Dawn Streams is a composition for orchestra with tape. The orchestra includes woodwinds (flute, oboe, clarinet, bassoon), brass (horns(2), trumpets(2), trombone, tuba), percussion (timpani, bass drum, snare drum, tom-toms, timbales, temple blocks, suspended cymbal, triangle, xylophone), and strings. The tape was produced using a Synclavier digital synthesizer. The work consists of a single movement approximately eleven minutes in duration. The pitch materials in the work are derived from a single series of pitches and are used in a contrapuntal texture.

A New Song is a sacred contata in four parts written for mixed chorus, soloists, narrator, congregation, and chamber ensemble consisting of organ, brass ensemble, and percussion. It is designed to be performed within the limitations of a church sanctuary. The text is taken from the New American Standard Version of the Bible. The four parts are based on prophecies found in the book of Isaiah and the fulfillment of these prophecies as found in the New Testament books of Matthew, Luke, and John. The texture and orchestration throughout the contata change according to the mood of the text. For practical performance purposes, vocal parts are based on traditional harmonic, melodic, and rhythmic patterns, leaving the more complex patterns to the instrumental parts.

Of Variegated Shadows is an original composition for wind ensemble. The purpose of the composition is to contribute a work to college level wind ensemble literature which employs established instrumental techniques and explores the various colors or timbres of the ensemble. The work is a single movement of approximately 15 - 20 minutes duration. It is divided into three continuous sections, each reflecting a different character or mood. A transition couples the first and second sections and a coda concludes the composition with a brief return of the opening section. Textures of the piece are transparent with an emphasis given to the blending of different colors in the ensemble. Instrumentation includes antique cymbals, vibraphone and tam-tam to add subtle shades of color. Thematic materials woven into the texture are linearly constructed as well as vertically layered and fragmented. There is no order or system in which pitches occur, although intervals used reflect the motivic structures in the work.

This is an analysis for Symphonic Portrait: The Patriarch, which is the first in a trilogy of works each depicting one of the Deities in the Holy Trinity. It is scored for symphonic band consisting of piccolo, two flutes, two oboes, E^b clarinet, three B^b clarinets, alto clarinet, bass clarinet, contrabass clarinet, two alto saxes, tenor sax, baritone sax, two bassoons, three B^b cornets, two B^b trumpets, four F horns, three trombones, euphoniums (div.), tubas (div.), string bass, timpani, eight percussionists playing bells, chimes, vibraphone, xylophone, marimba, snare drum, bass drum, three tom-toms (high, medium, low), suspended cymbal, crash cymbals, two tam-tams (large and medium), triangle, tambourine, vibra slap, steel plate, finger cymbals, bell tree, piano, harp, and organ. The music consists of two major parts; the scenario and the main body. Each part lasts six minutes, giving the work a total duration time of about twelve minutes.

Sinfonia is a two movement work for chamber string orchestra and percussion consisting of at least five violins I, five violins II, five violas, five cellos, three string basses, and three percussionists playing timpani, two suspended cymbals, one small crash cymbal, 2 triangles, tambourine, woodblock, five temple blocks, snare, two tom-toms, 2 glockenspiels, xylophone, and chimes. The first movement is approximately nine minutes long, the second lasts five and one third minutes making a total of approximately fourteen minutes and twenty seconds.

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.

Stellar Ouintet is a composition in five movements (Prologue, Allegro, "...Of Stars", Rondo, Epilogue) for two violins, viola, violoncello, and harpsichord. It makes extensive use of constellations , a term used in this work to denote arrangements of pitches in spatial notation. This method of notation is derived from actual astronomical constellations. The score makes use of both real and freely constructed constellations which are rotated around their own central axis. The score is 90 pages long with a 28 page analysis preceding the score. The work has a performance time of approximately 18-20 minutes

This work is a setting of two poems by E.E. Cummings for chamber orchestra and mezzo-soprano soloist. The approximate durations of the first and second movements are respectively seven and one half, and six minutes. The music was inspired by the poetry and attempts to highlight the cyclic syntax which hallmarks Cummings' style. The first poem ("pity this busy monster, manunkind,") presents a sarcastic analysis of the progress of society. The compositional techniques used in the first movement involve elements of ostinato and fragmented motivic development to punctuate the penetrating message of the poem. The second movement ("these children singing in stone a") offers a marked contrast in texture and is a peaceful resolution to the agitated frustration of the first poem. Chromaticism is an essential element in defining the melodic and harmonic style. The vocal writing is largely declamatory and presents the vocalist with challenges of tessitura, intervallic complexity and extended technique.

A Postcard from Cairo is a chamber work for three performers (flute/soprano saxophone, vibraphone/conga, and electric guitar) supported by stereo tape and two digital sequencers. The musical content is a montage of Arabian, Indian, Spanish, and Moroccan ethnic music, combined with avant-garde sounds. The score reflects a mixture of traditional and contemporary elements featuring extensive use of improvisation and repetition. Each player is required to coordinate his responses in a variety of ways. Cues are governed by an analog clock, and pulses are provided by the tape/sequencer background.

Three Ideas is a collection of three one-act (musical) plays intended to be performed either as a series or as separate pieces. In order for them to be performable in either of those ways, they need some sort of unifying fabric running throughout the collection, yet they must remain individually strong enough to stand alone outside the context of the series and still seem complete. The concepts Tonal and Nagual, Bell's Theorem, and Breakdown of the Bicameral Mind were chosen because of their theatrical possibilities as well as their philosophical implications. All three of the concepts deal with an unknown, or at least unseen, force that has a strong influence (possibly control) over our actions and the actions of objects around us. This force could possibly radiate from within ourselves, or it could be completely outside us.

Psalm 23 is a sacred work in four movements, written for women's chorus (SSAA), a tenor solo and a chamber ensemble consisting of flute, oboe, trumpet, percussion, timpani, and string quartet. It is designed to be performed as a portion of a church service or in concert. The text, Psalm 23 from the Bible is sung in Chinese, and the verses of the Psalm are arranged as follows: Movement 1, Verse 1, General musical characteristics: pastoral; Movement 2, Verses 2-3, General musical characteristics: peaceful; Movement 3, Verses 4-5, General musical characteristics: agitated; Movement 4, Verse 6, General musical characteristics: majestic. The form, tonal structure and harmony of each movement are influenced by the characteristics of an original synthetic scale.