1 / by Joan Marie Titus (2002) Defining African American gospel music by tracing its historical and musical development from 1900 to 2000 / by Raymond Wise (2002) The late twentieth-century American Organ Chorale : a study of six composers / by Lisa Ann Browne (2001). Operatic reform in Turin : aspects of production and stylistic change in the 1760s / by Margaret Ruth Butler (2000). Playing panpipes in Southern Russia : history, ethnography, and performance practices / by Olga V. Ripley (2015) Illuminated scores and the architectural design of musical form / by Orlay Alonso (2015) Determining criteria for the evaluation of high school band directors : a survey of high school principals and band directors in the State of Ohio / by Marc Samir Parulekar (2014) Career intentions and experiences of pre- and in-service female band teachers / by Sarah Hope Fischer (2013) The learning communities of exemplary mid-career elementary general music teachers / by Christina Louise Pelletier (2013) Does enrollment in Ohio's Urban Arts Magnet High Schools make a difference on OGT scores and the on-time graduation rate?
Major (2010) The dialectic of modernization [electronic resource] : implications for music teacher education / by Malinda Wiard Essex (2010) Dale Clevenger : performer and teacher / by Margaret Tung (2009) A music industry program for today's colleges and universities / by David Lancaster Tolley (2008) Process and product : the sight-singing backgrounds and behaviors of first-year undergraduate students / by Victoria J.
Halbe (2004) The clarinet in early America, 1758-1820 / by Jane Elizabeth Ellsworth (2004) Prosody and rhythm in the post-Tridentine reform of plainchant / by Joshua Joel Veltman (2004) The musico-dramatic evolution of Rodgers and Hammerstein's "South Pacific" / by James A.
Lovensheimer (2003) "Singing to another tune" : contrafacture and attribution in troubadour song / by Billee A.
I start from the principle that composition is a historical lineage of techniques that have traditionally been applied to music but need not be.
To illustrate this, I apply composition principles to the writing of this Ph D thesis.
Bonse (2003) Writing modernist and avant-garde music in Mexico : performativity, transculturation, and identity after the revolution, 1920-1930 / by Alejandro L. Music in the Black and White communities in Petersburg, Virginia, 1865-1900 / by Ethel Maureen Norris (1994). Using hypermedia to enrich the learning experience of college students in a music appreciation course / Henry Edgar Duitman (1993). Reclaiming a music for England : nationalist concept and controversy in English musical thought and criticism, 1880-1920 / by William Scott Ball (1993) "De preceptis artis musicae" of Guilielmus Monachus : a new edition, translation, and commentary / by Eulmee Park (1993) The "si placet" voice : an historical and analytical study / by Stephen Daniel Self (1992). Tuning, temperament and pedagogy for the vihuela in Juan Bermudo's Declaracion de instrumentos musicales (1555) / by Maria Therese Annoni (1989). The Warsaw Autumn International Festival of Contemporary Music 1956-1961 : its goals, structures, programs, and people / by Cynthia E.
Madrid-González (2003) Prokofiev's "Romeo and Juliet" : history of a compromise / by Deborah Annette Wilson (2003) Devotional music and healing in Badakhshan, Tajikistan : preventive and curative practices / by Benjamin David Koen (2003). An historical and musical study of Aaron Copland's first orchestral work : "Grohg, a ballet in one act" / by Roberta Lewise Lindsey (1996) The completed symphonic compositions of Alexander Zemlinsky / by Robert L. Bylander (1989) Music of the Shakers from Union Village, Ohio : a repertory study and tune index of the manuscripts originating in the 1840's / by Donald Edwin Christenson (1988). Holladay (1977) Theme and variation in twentieth-century organ literature: analyses of variations by Alain, Barber, Distler, Dupré, Duruflé, and Sowerby / by Larry Lynn Rhoades (1973) The music of Johannes Tinctoris (ca.
In describing this process, I draw parallels between the music work I have composed during 2013-2017 and the process of thesis writing.
Along the way, I show how quantization is not only central to my composition practice but fundamental to the act of composing; I rethink the basic epistemological principles of Ph D research, using John Cage's ideology of chance and Arthur Koestler's idea of bisociation; I develop a new set of categories for classifying artworks that use combinatorics, under the umbrella neologism 'completism'; expand upon James Tenney's ideas to create a new typology of musical form based on completist principles; and finish by composing the bibliography, font, page-layout, semantics, word choice, and syntax of the Conclusion of this thesis.