Composed in the summer of 1987 at the request of the Elgart/Yates Guitar Duo (to whom the work is dedicated), arcus vitae is a representative example of the composer's ongoing interest in strictly controlled, systematically applied processes as analogies of natural phenomena.

As the title suggests, the work is essentially an arch-like structure, and is characterized by a gradual process of growth and decay that is evidenced in all parameters: rhythmic material is the result of an incremental accumulation and subsequent reduction of temporal values (each of the two parts proceeding in palindrome from a basic rhythmic nucleus); pitch material expands from a single point to a completely saturated chromatic field, then gradually dissipates; variations of dynamics and register are the result of articulative/timbral modifications, which are applied to the raw materials in such a way as to effect a gradual increase then subsequent decrease in density and complexity, eventually returning to the simplicity of the opening. Canonic elements, inherent to the structure and present throughout, become more apparent from the midpoint onward, where the temporal displacements are often so minute as to create an echo-like stretto between the parts.

As an analogy to the life process, the return to the original state in arcus vitae is not a literal one; rather, it is degenerative in nature, as in the eventual deterioration of an organism over time. Such a retrogression is effected by rhythmic and intonational distortions that occur within the latter portion of the work, thus epitomizing mortality itself.

DEdi/seC(r)ATIONS was composed between February and April of 1986 for tenor John Reager, to whom the work is dedicated. The work was first performed by Reager, with the composer playing percussion, at California State University, Pomona, on 17 April 1986.

The work consists of five arias for voice (male or female) and percussion, each separated by a brief interlude for percussion alone. The primary percussion instruments (which are used during the arias) are grouped into two stations, arranged at the far right and left sides of the stage. Connecting these stations are two parallel rows of percussion instruments forming a narrow corridor through which the percussionist passes during the interludes.

Regarding the music itself, each aria and interlude is the result of a different compositional approach: should we not go in? for voice and timpani follows a strict system in its organization, and is notated conventionally; (...at the 1369) for voice and vibraphone is notated proportionally, allowing for some degree of flexibility between the parts; The Cage for voice and marimba consists of an aleatoric chart, by which four dice determine the structure of the aria; re: Vinko for voice, prepared timpani, and miscellaneous percussion instruments is in a somewhat free mobile format, each of the performers following his/her own set of directions provided within a series of boxes; Mr. P's Epitaph for voice and ocarina is a purely graphic score intended as an improvisatory guide. The four interludes similarly display such a diversity of approaches.

The use of text is extremely varied, ranging from straightforward presentation (e.g., (...at the 1369), should we not go in?) to more flexible situations through either chance procedures (e.g., The Cage) or performer choice (e.g., Mr. P's Epitaph, re: Vinko).

Der Demutsahne ("Humility-forebear") is one of a series of short works for solo instrument based upon characters from Der Ohrenzeuge: Fünfzig Charaktere ("Earwitness: Fifty Characters"), written in 1974 by the Bulgarian-born British-Austrian novelist Elias Canetti (1905-1994). Canetti’s distinctive studies incorporate poetic imagery, singular insights, and unabashed wordplay to create fifty ironic paradigms of human behavior. This collection of works, begun in 1997, was inspired by the vividly surreal depictions of Canetti’s characters and include works for contrabass, violin, bass flute, ocarina, contrabassoon, glass harmonica, alto saxophone, trumpet, percussion, guitar, and bass saxophone.

Der Demutsahne was composed in September 2008 for guitarist Matthew Elgart.

Dog is based upon the poem of the same name by American poet W.S. Merwin (b. 1927), from the collection titled Green With Beasts (1956). Merwin’s poem is a nihilistic study in despair and desolation, a contemplation of the dog who “guards all that is gone.” The present work explores the psychological implications of the poem through a variety of musical and visual elements — including 8-channel computer music, live processing of the voice and bassoon, video projections, and lighting.

The vocalist elaborates upon the salient aspects of the poem, while the bassoonist acts as alter ego: together, these elements represent the physical presence of the dog, alternately aware of the oppressive present and reflective of a vital past. The computer music consists of three musical layers: a sonic “windscape” (utilizing processed sounds from the female voice and bassoon), suggesting “the shimmering vista of emptiness” described by Merwin; the spoken voice, presenting the poem in its entirety; and the processed dog sounds (crossed with bassoon and voice samples), representing a struggle of the psyche, as the creature comes to terms with its fate. The work is presented in six episodes, throughout which the voice and bassoon exchange roles: as the former becomes increasingly prominent, the latter assumes a more accompanimental status.

Dog was supported in part by a faculty research grant from the University of North Texas, and is dedicated to Heidi Dietrich Klein and Kristin Wolfe Jensen. The computer music was realized at the UNT Center for Experimental Music and Intermedia, with the invaluable assistance of Michael Thompson, and the video component was rendered and edited by Jon L. Henry, under the supervision of the composer. The work was first performed by soprano Heidi Dietrich Klein and bassoonist Kristen Wolfe Jensen on 1 October 1997 at the University of North Texas.

When director Jan Harrington approached me with the prospect of composing a work for the Indiana University Contemporary Vocal Ensemble in collaboration with choreographer Emily Stuart, I was both enthusiastic about the dramatic possibilities and a bit tentative regarding the collaborative process itself. During my initial meetings with Emily, it was apparent that we had quite dissimilar aesthetic concerns, and therefore, somewhat different conceptual approaches to this particular work. As the composer, my primary goal was to create a music that would be an equal partner to the visual drama, neither dominating nor playing a subservient role to it. In particular, I wanted to integrate and manipulate the sound materials in a compelling, musically satisfying way, and to avoid creating a mere textural backdrop to the stage action. As for the form of the work, we had a pretty clear idea early on of how it would be structured, though the details were slowly formulated over a period of several months by a continuous process of reworking and elaborating upon each other's materials. Thus, each stage of the work's development was the result of a kind of artistic cross-pollination, whereby a particular action would determine an appropriate musical response, and vice versa. This interactive process gave each of us a fresh perspective toward the creation of dreaming the dark down slowly, and in the final analysis, those creative differences which I had initially regarded with some apprehension actually proved to be the essential catalyst for a work I consider to be a truly collaborative effort.

false relationships was composed between August of 1989 and February of 1990 at the request of clarinetist Richard Hornsby. The work is in five continuous movements, each utilizing different combinations of the eight instruments. Clarinets are prominent in prologue: sects,discourse, an introductory movement in which the basic materials of the entire work are presented. In alter ego, the ensemble is divided into two equal quartets which engage in a polemic exchange, the musical material of which is based loosely upon the second movement of Antonín Dvorák’s Serenade for Winds, Opus 44. The third movement, circuit, is a round for six players modeled after the third movement of Mozart’s Serenade No. 12 in C-minor, K.388. Based upon Edgard Varèse’s Octandre, schism (concertino) features the two oboists against a ripieno consisting of the remainder of the ensemble. This apparent rift is ultimately rectified in the final movement, epilogue: acquiescence/diaspora, which is characterized by a convergence and eventual dispersion of the entire ensemble.

Goblin Market was composed in 1993 for trombonist William Bootz on a National Endowment for the Arts Composer Fellowship, and is based upon the poem of the same name by Pre-Raphaelite poet Christina Rossetti (1830-1894). The work itself is not intended as a programmatic representation of the poem, but is rather a structural and psychological study of the actions and characters portrayed therein; thus the material has been reworked to the extent that it exists in this form as a parallel or alternate realization of the original impetus, almost as a shadow or spectre. To this end, the work is divided into five movements, according to the dramatic unfolding of the poem. Each of these movements is itself parsed into smaller sections, the number and duration of these sections corresponding to each paragraph of text; thus, the pacing of the musical work is based directly upon that of the poem itself.

The Rossetti poem concerns two sisters, Laura and Lizzie. Each day as they stroll through the woods to the market, they hear the cries of the goblin men, enticing them to come buy their fruits (come buy, come buy). Though the girls are aware of the dangers of listening to the goblin men, Laura one day gives into the temptation. As she peeks over a knoll, the grotesque little men rush her, offering luscious fruits from their strange, enticing garden. After buying their fruits with a lock of hair and a tear, Laura is treated to tastes and pleasures beyond her imagination. Eager to repeat the encounter the following day, Laura is devastated to find that now only her sister hears the cries of the goblin men (open heart/absent dream). Pining for lost pleasures, Laura begins to waste away (Laura dwindling). In an effort to save her sister, Lizzie confronts the goblin men, but stubbornly refuses to eat their fruits (resistance). Eventually the goblin men give up, leaving Lizzie in disgust (bitterness without a name). The shared experience brings the two sisters together and heals Laura of her wasting anguish.

In the present work, the two main characters of the poem are represented by two complementary pitch cells, one consisting of five pitch classes, the other of seven. These cells are utilized according to the action within the poem; thus their separation/integration is directly linked to the poem's narrative structure. The 5:7:12 scheme is also applied proportionally throughout the work, evidenced primarily in the temporal relationships between the various elements within the environment and solo parts.

The musical-dramatic content of each section of the work is the result of a psychological extrapolation of the drama within the poem, which has then been superimposed upon or recast within more traditional formal models. However, in several cases these boundaries have been obscured as a result of the various interrelationships: for example, the theme of the second movement variations is actually a paraphrase of the second section of the first movement, as well as a miniature set of variations in itself; the variations of the second movement continue in the fifth movement, after being interrupted by movements III and IV; the third movement is a passacaglia (i.e., continuous variations) based exclusively upon the seven-note pitch cell, and is thus an extension of (or obsession upon) variation 4 of the second movement. In a broad sense then, the entire work may be viewed as a set of variations on the two pitch cells (thus making the second and fifth movements "variations within/upon variations").

From a dramatic standpoint, the work depicts the course of a protagonist (trombonist) through a reflection of the plot (pianist/environment) as generated by the composer's response to the content of Rossetti's poem.

IcarUS At thE caBARet VoLtairE: parT I (tHe RENdeZVOus) was composed in August and September of 1985 for the Los Angeles-based guitar duo of Matthew Elgart and Peter Yates. The work was first performed on 18 December 1985 by the Elgart/Yates Duo at the University of Leuven, Belgium, and has since been performed over two dozen times throughout the United States and Europe. IcarUS At thE caBARet VoLtairE is the recipient of a 1987 ASCAP Grants to Young Composers Award and an honorable mention in the 1988 Gaudeamus Prize Competition.

To present an in-depth analysis of a work such as IcarUS At thE caBARet VoLtairE prior to its performance would be an injustice both to the work itself and to the audience. However, let it suffice to say that the work is intended as a musical embodiment of the DADA spirit (as suggested by its title) in both construction and presentation. Much of the work is based on a process of growth/metamorphosis/decay, though the myriad of surface details often obscure this fundamental structural tenet. Textual materials are taken from four different languages (German, French, Italian, and English) and juxtaposed arbitrarily, their placement defined by Morse Code and organized according to pre-compositional decisions determined by a deck of playing cards. The often marionette-like actions of the guitarists themselves emphasize their reflexive/reactive attitude toward the various aural stimuli, which in turn either generate additional musical materials, or are integrated into the overall texture.

Composed in 1982, Images for jazz combo is an improvisational work which allows performers freedom from the rhythmic, harmonic, and stylistic constraints of more traditional jazz idioms. The score is comprised of nine boxes, each of which contains a distinct image for improvisational impetus. Three of the boxes are played by the entire ensemble; each of the remaining boxes is interpreted by a different combination of instruments within the group (solo with drums; solo with bass; solo with bass and drums; bass and drums; drums solo; horns only). Players may follow any number of possible pathways through the nine boxes, as indicated in the score; the order of the various instrumental groupings and the duration of each event (and of the overall work) are determined by the ensemble.

Die Königskünderin ("The King-Proclaimer") is one of a series of short works for solo instrument based upon characters from Der Ohrenzeuge: Fünfzig Charaktere ("Earwitness: Fifty Characters"), written in 1974 by the Bulgarian-born British-Austrian novelist Elias Canetti (1905-1994). Canetti’s distinctive studies incorporate poetic imagery, singular insights, and unabashed wordplay to create fifty ironic paradigms of human behavior. This collection of works, begun in 1997, was inspired by the vividly surreal depictions of Canetti’s characters and include works for contrabass, violin, bass flute, ocarina, contrabassoon, glass harmonica, alto saxophone, trumpet, and percussion.

Die Königskünderin was completed in April of 2006 for trumpeter John Holt, who first performed the work at the University of North Texas on 17 October 2006.

Lament was composed in September of 1995 for the funeral service of the composer's grandfather, Joe Nobile.

Because the work is intended primarily as Gebrauchsmusik — i.e., for functional purposes — certain practical considerations have been observed during its composition. In the first place, the harmonic and melodic language are traditionally based, resulting in a more accessible and seemingly "familiar" style. Secondly, the work consists of four distinct voice parts (SATB), lending itself to a variety of possible transcriptions (e.g. double-reed quartet, saxophone quartet, string orchestra, solo guitar, etc.). Finally, the work is texturally static and repetitious, thus making it suitable for more passive listening.

These practical considerations superceded all other compositional decisions in the creation of Lament. With this in mind, a series of processes was devised in order to create a tonally-based isorhythmic moto perpetuo in three parts. The first line consists of a descending 4-note scale pattern, two beats per note, cycling through a circle of fifths in two measure increments. The second line consists of an ascending 4-note scale pattern, one note per beat, cycling through a circle of fifths in one measure increments. The third line consists of a twelve-tone row, three beats per note, which completes a cycle every 36 beats. The composite isorhythmic patterns require 288 beats to cycle completely, and the entire work is divided into three equal strophes of 96 beats each. Interpolated among these three lines is a freely-structured fourth line which is in continuous motion throughout. With the exception of the first line (which remains exclusively in the bass voice), these lines are in constant flux within the three upper voices, meandering elusively through the texture.

The resulting music is stylistically indebted to three diverse composers: Maurice Ravel (primarily in the harmonic and melodic content), Johannes Brahms (rhythmic and contrapuntal elements), and Johannes Ockeghem (textural density and phrase structure).

Der Leichenschleicher ("The Corpse-skulker") is one of a series of short works for solo instrument based upon characters from Der Ohrenzeuge: Fünfzig Charaktere ("Earwitness: Fifty Characters"), written in 1974 by the Bulgarian-born British-Austrian novelist Elias Canetti (1905-1994). Canetti’s distinctive studies incorporate poetic imagery, singular insights, and unabashed wordplay to create fifty ironic paradigms of human behavior. This collection of works, begun in 1997, was inspired by the vividly surreal depictions of Canetti’s characters and include works for contrabass, violin, bass flute, ocarina, contrabassoon, glass harmonica, alto saxophone, trumpet, and percussion.

Der Leichenschleicher was composed in June of 1997 for contrabassist Michael Hartt. The work was first performed by Todd Markey on 22 November 1999 at the University of North Texas

Der Leidverweser ("The Woe-administrator") is one of a series of short works for solo instrument based upon characters from Der Ohrenzeuge: Fünfzig Charaktere ("Earwitness: Fifty Characters"), written in 1974 by the Bulgarian-born British-Austrian novelist Elias Canetti (1905-1994). Canetti’s distinctive studies incorporate poetic imagery, singular insights, and unabashed wordplay to create fifty ironic paradigms of human behavior. This collection of works, begun in 1997, was inspired by the vividly surreal depictions of Canetti’s characters and include works for contrabass, violin, bass flute, ocarina, contrabassoon, glass harmonica, alto saxophone, trumpet, and percussion.

Der Leidverweser was composed in June of 1998 for contrabassoonist James Rodgers. The work received the 1998 El Ruiseñor Grave Prize and was first performed by Monica Fucci on August 13, 1999, for the International Double Reed Society Conference at the University of Wisconsin, Madison.

Leviathan is based upon the poem of the same name by American poet W.S. Merwin (b. 1927), from the collection titled Green With Beasts (1956). Merwin’s poem is an evocative depiction of the mythical beast, the “curling serpent that in ocean is, Sea-fright... the shadow under the earth.” The present work explores the psychological implications of the poem through a variety of musical and visual elements — including 8-channel computer music, live processing of the voice and bass trombone, video projections, and lighting.

The work is presented in five episodes, throughout which the relationship between the voice and bass trombone is continually changing. The vocalist elaborates upon the salient aspects of the poem, representing the conceptual and psychological aspects of leviathan, while the bass trombonist represents the physical and mythical manifestation of the beast. The computer music consists of three musical layers: a continuously transforming sonic “seascape”, suggesting the “wastes gray-green crashing” described by Merwin; the spoken voice, presenting the poem in its entirety (and including additional references to the Biblical creature drawn from Job 41, Psalms 104:26, and Isaiah 27:1 in Episode 3); and a variety of processed nautical sounds (crossed with bass trombone and voice samples), creating a sonic link between myth and reality.

Leviathan was supported in part by a faculty research grant from the University of North Texas, and is dedicated to Joseph Hopkins and William Bootz. The computer music was realized at the UNT Center for Experimental Music and Intermedia, with the assistance of Morris Martin, Ed Baird, William Bootz, and Chris Gassler (audio sound sources), and Steve Willis (recording engineer). The video component was rendered and edited by Jon L. Henry, under the supervision of the composer. The work was first performed by baritone Jeffrey Snider and bass trombonist William Bootz on 9 November 1998 at the University of North Texas Center for Experimental Music and Intermedia.

March Transforms was composed between October of 1985 and January of 1986 for the UC San Diego Wind Ensemble at the request of the director, Cindy Earnest, to whom the work is dedicated. The work was first performed by that ensemble on 2 March 1986, and was subsequently selected by the Virginia Band Director's National Association for presentation at the "Symposium XII for New Band Music" in February of 1987. It has since been perfomed by several major university wind ensembles throughout the country. In 1989, March Transforms received the Grand Prize Award in the Third Annual Phi Mu Alpha Sinfonian Competition.

The structure of the work is based entirely upon that of John Philip Sousa's "Stars and Stripes Forever" March, evidenced (at least fundamentally) in nearly every aspect of the work's construction, including form, pitch, rhythm, and even instrumentation. The result is not so much a march in itself, as it is a distillation of the Sousa classic.

Melodráme was composed between December 1988 and August 1989 for contrabassist Michael Hartt. The work is in six movements that form a completely symmetrical arch-structure resulting from the superimposition of equal divisions of the whole by 3, 4, and 5 units (the resulting proportions of the individual movements themselves being 6:5:4:4:5:6). This 3/4/5 superstructure is repeated at successively deeper levels, and is thus reflected within each movement as well as in the basic rhythmic and pitch materials of the entire piece. In spite of the ostensibly rigorous structure, there has been a conscious effort to conceal this rigid framework, achieved in some instances by subtle degrees of structural delineation and in others by outright gestural blatancies (often occurring between those strictly calculated subdivisions), thus creating a cognitive ambiguity between the work’s construction and its perception.

Monogram (for Nicolás) was composed in September 2004 as part the project "Bells for Nicolás," a collaborative work to honor the life of Nicolás Alejandro Useche-Gonzalez, a University of North Texas composition student who was killed in a tragic automobile accident in August 2004. "Bells for Nicolás" was first presented on a memorial concert at the University of North Texas on 9 October 2004.

MOTET: memento mori was composed between February and April of 1988 and is dedicated to the memory of the composer's grandmother, Veronica Klein. The work is essentially an asymmetrical tripartite arch-structure (the closing section being a simultaneous progressive and retrogressive encapsulation of the opening), though divisions within and between sections are often obscured by the nearly continuous metamorphosis of musical material. Textual materials consist of isolated phonemes in various combinations, which coalesce into brief moments of quasi-semantic coherence. Transformations of rhythmic density, shifting temporal relationships, and the expansion/contraction of the pitch spectrum result in varying degrees of contrapuntal interplay throughout the work.

MOTET: memento mori was first performed by members of the Indiana University Contemporary Vocal Ensemble on 25 October 1988.

Die Müde ("The Tired Woman") is one of a series of short works for solo instrument based upon characters from Der Ohrenzeuge: Fünfzig Charaktere ("Earwitness: Fifty Characters"), written in 1974 by the Bulgaria-born British-Austrian novelist Elias Canetti (1905-1994). Canetti’s distinctive studies incorporate poetic imagery, singular insights, and unabashed wordplay to create fifty ironic paradigms of human behavior. This collection of works, begun in 1997, was inspired by the vividly surreal depictions of Canetti’s characters. To date there are nine works in this series, composed for contrabass, violin, contrabassoon, ocarina, glass harmonica, bass flute, alto saxophone, trumpet, and percussion.

Die Müde was composed in September of 2004 and composed for saxophonist Eric Nestler, who first performed the work at the University of North Texas on 19 October 2004.

The idea for the work The Muses of Bedlam came from bassist/composer Michael Hartt, who challenged his colleagues John Mickel and Joseph Klein to participate in the joint composition of a three-movement work for solo contrabass. The tenet was simple: each of the three composers would begin a movement, compose three measures, then send the fragment along to the next composer, who would in turn add three measures and send it to the third composer, etc. (It should be noted that in the final copy of the work, several of the original measures have been divided into smaller units to facilitate the work's performance.) This process was allowed to continue until all three composers had deemed the work finished (in this case, after completing four cycles over a period of approximately five months). The result of such a process is called a cadavre exquis ("exquisite corpse"), a term coined by the dada and surrealist artists who first applied this technique to poetry and drawing. In the present work, the first movement was begun by Mickel, the second by Klein, and the third by Hartt. Though each composer's personality manifests itself throughout each movement, the resulting work is surprisingly organic, perhaps because of the dialectic nature of the materials themselves.

The Muses of Bedlam was first performed by Michael Hartt at Indiana University on 23 February 1992.

Composed between May of 1994 and February of 1999, Occam's Razor is a collection of seven brief studies for ten players intended as an exploration of a variety of musical procedures, structural devices, and interdisciplinary references. Numerical sequences serve as the basic organizing element, from the micro-level rhythmic and pitch cells, to movement durations (resulting in a proportional ratio of 7:8:5:11:6:10:9), to the instrumentation itself (one percussion, two brass, three woodwinds, four strings). Moreover, the work is constructed as a dynamic unfolding of "sub-ensembles" within the whole; thus, the work comprises ten solo sections, nine duos, eight trios, etc., with only a single section that includes the entire complement of ten players. The work’s title refers to a principle devised by the English philosopher William of Occam (c.1285 - c.1349) which states that where more than one theory exists, the simplest one should be applied; also known as the law of parsimony, "Occam's Razor" implies a degree of complexity beyond that which is manifest.

The first study of the set, estuary (chaotic fugato quasi toccata), takes as its metaphorical model a geological formation—specifically, the point where a river is met by the tides at an inlet of the sea. The movement is loosely fugal, though the character is reminiscent of a toccata (a rapid, florid, introductory movement); in this instance, the structure is derived from chaos theory, whereby erratic oscillations create bifurcations within the texture (musically represented by the splitting of a single line, first into two parts, then four, then seven). The point at which a river meets the sea displays a similar type of turbulent behavior.

The second study, au seuil de la ruine (notturno interrotto), is in two equal parts, the first of which consists of a cluster derived from two octatonic collections (pivoting around a central E-flat) which undergoes a gradual registral expansion and rhythmic compression. This opening section is interrupted by three brief, unrelated episodes, the first of which returns prior to a highly condensed recapitulation of the opening section in retrograde. The movement’s title (“on the threshold of decay”) refers to a painting by surrealist artist René Magritte, Au Seuil de la Liberté (On the Threshold of Liberty, 1929), as considered through the deconstructionist prism of Jacques Derrida.

The third study, one of many circles (hyperfractal variants), consists simply of thirteen brief statements of a motive in various guises. The distilled, self-similar quality of these variants reflects the influence of fractal geometry—a term coined by Belgian mathematician Benoit Mandelbrot to classify those fragmented and irregular structures that are not represented in classic Euclidean geometry. The title is from a line in Wallace Stevens’ poem “Thirteen Ways of Looking at a Blackbird” (1917), which also served as a model for this study.

The fourth study, maßenkristalle (loxodromic chaconne), is modeled after the Baroque chaconne, or continuous variation process. The chaconne subject consists of an eleven-note row which gradually spirals upward in pitch while simultaneously descending in register through a series of octave displacements; thus, it is similar in design to a loxodrome—an imaginary line on the surface of a sphere which is oblique to the equator, crossing all meridians at the same angle in a spiral path toward the pole. The title is from Elias Canetti's book Maße und Macht (Crowds and Power, 1960) and refers to the loss of individual identity experienced during the formation of a crowd, initiated by what Canetti refers to as Maßenkristalle or “crowd crystals.”

The fifth study, the myth of eternal return (entropic ostinato), consists of a disintegrating ostinato texture that is followed by a brief coda reminiscent of the second movement notturno. The title comes from the opening ruminations of Milan Kundera’s novel The Unbearable Lightness of Being (1984), in which the author reflects upon (and ultimately rejects) Friedrich Nietzsche’s concept of eternal return. Kundera’s contemplation of an existence that recurs ad infinitum—becoming “a solid mass, permanently protuberant”—and the inherent weight of such a burden is the basic premise of the novel, and the conceptual germ of this movement.

The sixth study, crown knots & cascades (meta-rondo in chiasmus), consists of two intertwined processes: the first process is associated with a core unit of three instruments—bass clarinet, trumpet, and viola—and is characterized by a decrease in tempo (from MM 180 to MM 90) and unit size (from seven to three instruments) throughout; the second process is associated with a core unit of three different instruments—piccolo, harpsichord, and contrabass—and is characterized by an increase in tempo (from MM 60 to MM 120) and unit size (from three to seven). These two processes are presented in alternation, resulting in a palindrome that crosses at brief overlapping solos in the trumpet and harpsichord. The title is drawn from a line in Alice Fulton’s poem “Volunteers” (from Sensual Math, 1995), part of a sequence that draws upon genetic crossover as a significant aspect of its trope and subject.

The seventh study, time's maw (moto perpetuo), deals with the perception of time and its passage. The title is borrowed from a line in John Ashbery's poem “All and Some” (from the collection Self-Portrait in a Convex Mirror, 1974), and the musical model is that of a moto perpetuo (a short piece built upon repetitive patterns). The pitch material is derived from “The Westminster Chimes” melody, which is subjected to various temporal and pitch distortions, and a kinetic intensification that ultimately leads to a complete textural saturation.

Occam’s Razor was supported in part by a Composer Fellowship from the National Endowment for the Arts and a Faculty Research Grant from the University of North Texas. The complete work was premiered on 8 March 1999 at the University of North Texas by the UNT Faculty Chamber Ensemble, conducted by the composer.

Der Ohrenzeuge ("The Earwitness") is one of a series of short works for solo instrument based upon characters from Der Ohrenzeuge: Fünfzig Charaktere (Earwitness: Fifty Characters), written in 1974 by the Bulgarian-born British-Austrian novelist Elias Canetti (1905-1994). Canetti’s distinctive studies incorporate poetic imagery, singular insights, and unabashed wordplay to create fifty ironic paradigms of human behavior. This collection of works, begun in 1997, was inspired by the vividly surreal depictions of Canetti’s characters and include works for contrabass, violin, bass flute, ocarina, contrabassoon, glass harmonica, alto saxophone, trumpet, and percussion.

Der Ohrenzeuge was composed between September 2000 and January 2001 for flutist Helen Bledsoe, who first performed the work on February 25, 2001 at the Posthoornkerk in Amsterdam.

Outdoor Music is a series of site-specific, interactive works composed between March of 1982 and May of 1983 that are intended to impose a musical framework upon a variety of pre-existing environments. The last in the series, Outdoor Music IV for four trumpets and four pedestrians, was first performed on the corner of Fourth Street and North Broadway in Lexington, Kentucky, on 19 May 1989, as part of the "Al Fresco" music festival at Transylvania University. In this semi-improvisational work, the changing traffic signals guide the trumpet players as the four pedestrian-performers continuously cross the street in accordance with local traffic laws. Actual pedestrians (mingling with the pedestrian-performers) and passing vehicles alike unwittingly participate in the work, calling into question the relationship between the real and the artificial — and thus blurring the boundary between life and art. Outdoor Music IV is intended to bring out the inherent musical and dramatic qualities of city life, elements that are rarely considered by those who populate the urban landscape.

Parallaxes for four trombones (alto, two tenors, and bass) was composed between May and October of 1988 at the request of trombonist Andrew Glendening, to whom the work is dedicated. The five movements are played without pause, forming an arch-like continuum. The first movement, turbine, is an incessant, motoric music which utilizes the directional nature of the trombone by the rotation of the performers at center stage. The rhythmic drive of turbine eventually breaks down, leading into refleks, a more restrained continuation of the chorale-like closing section of the previous movement. A two-dimensional palindrome (mirroring being effected on both vertical and horizontal axes), refleks is characterized by a static surface which obscures the gradual tonal and registral unfolding. A subversion in the tonal stability and resultant textural flaccidity leads into the more ethereal and sparsely textured vapor, at which point the performers are at the far reaches of the performance space. The introduction of aberrant gestures sets the stage for rostra, a musical argument between the four players. As the exchange becomes more heated, the ostinato pattern which characterizes golem is introduced, gradually accelerating into a series of maniacally disruptive outbursts that eventually overtake the texture and thus conclude the piece.

Parallaxes was first performed at Indiana University on 1 April 1989, and received an ASCAP Grants to Young Composers Award in 1990.

Pathways is a series of works for solo instrument and chamber orchestra consisting of a single, fixed orchestral accompaniment through which the featured instrument wends its way. To date, versions for trombone, percussion, and soprano saxophone have been completed. The work is dedicated to my wife, Heidi, and my son, Gabriel.

Each of the solo parts has been composed with the properties and characteristics of the given instrument in mind, and therefore each version of Pathways presents a unique relationship between soloist and ensemble. For the composer, the obvious challenge in such a project is in composing individual solo parts which have no direct influence on or relationship to one another, yet which are organically linked to the single fixed accompaniment.

The conceptual metaphor for Pathways is that of a traveler and his/her unique and personal relationship with the surroundings on any given journey. Though a single road may be taken by several individuals (or by the same individual on different occasions), the various experiences and responses to a particular environment may differ substantially. Such factors as time of day, climate, or the traveler's mood can have a profound effect upon the experience and consequent response of the individual. In the case of this work, the orchestra acts as a sonic landscape through which the soloist (i.e., the traveler) passes. As the solo part is intended to reflect the unique "personality" of a particular featured instrument, these may differ from one another substantially, to the extent that each section within the work as a whole may be directed (and subsequently perceived) in a number of different ways, thus influencing its dynamic unfolding.

The third in the series, Pathways: Interior Shadows was composed for saxophonist Eric Nestler, and was supported in part by a grant from the University of North Texas. This version was first performed on 31 March 1995 at the University of North Texas by Eric Nestler with the composer conducting the NOVA Ensemble. Pathways: Interior Shadows is divided into three main movements, each of which is in turn divided into smaller sections. In this version the saxophone soloist acts as a commentator, mirroring (and elaborating upon) the material presented within the orchestral part. The titles of the three large movements are intended to reflect the various trends of the music: a gradual disintegration in Dissolution, a sense of absence in Elusion, and a coming together in Conflux. The first movement, Dissolution, is in two sections: the first, mercurial tides, is characterized by a constant ebbing and flowing in the solo saxophone part, which in turn creates ripples of increasing intensity throughout the orchestra; in the second section, lattice, the music disintegrates into isolated points, through which the saxophone weaves its restless melody. A cadenza in the saxophone leads into the second movement, Elusion, which is also in two sections. In paroxysm & obsession, a sudden disruption consisting of isorhythmic patterns in brass and percussion influences the course of the melody in the solo saxophone. The second section, epicedium (a loss unknown), is an elegiac response to a tragic incident which occurred during the composition of the solo part. A second saxophone cadenza leads into the third movement, Conflux, which is in three sections. The first, spiral jetty, is named for an earth work created at the Great Salt Lake in Utah in 1970 by American artist Robert Smithson (1938-73), and long since worn away by the effects of nature. The incongruity of this temporary artificial monument elegantly thrust upon its desolate natural surroundings, the process of erosion, and the concept of "jetty" itself are the intended references in this section. In rencontre, the woodwinds and brass are in direct conflict, with the saxophone soloist acting as mediator. Another cadenza in the saxophone leads into tin maelstrom (the title of which is taken from a line in John Ashbery's collection of poems Self-Portrait in a Convex Mirror), in which the soloist attempts to pass unscathed through the overwhelming turbulence in the orchestra, only to have the final comment in the subdued coda.

Models used in Pathways are drawn from various natural phenomena such as numerical sequences (which, though ubiquitous, are often overlooked), fractals (recursive structures, as are found in crystals, pinecones, or broccoli flowers), chaotic systems (such as water currents or weather systems), and entropy (the increasing degree of disorder within the physical universe, as demonstrated by the breaking of a glass or by the natural decay of an organism). The following summary should serve to illustrate how these various systems are applied and manifested within Pathways:

The entire work is divided into sections based upon the numbers 1, 2, 3, 5, 7, 11 (prime number series), which recur at multiple levels within the work, including rhythmic patterning, pitch sequences, and even the number and distribution of the orchestra parts (fractal progression). The large-scale sections are then superimposed to create a series of seemingly irregular but symmetrical structural points (palindrome). Each of these overlapping sections is characterized by either a steady or dynamic state (stasis/entropy) in one of five parameters: timbre, texture, volume (i.e., dynamic level), register, and tempo. These sections may interact and develop in either a linear (causal) or non-linear (chaotic) fashion. On the local levels, instrumental lines may either attract or repel one another (magnetic fields) in any number of ways.

Pathways is a series of works for solo instrument and chamber orchestra consisting of a single, fixed orchestral accompaniment through which the featured instrument wends its way. To date, versions for trombone, percussion, and soprano saxophone have been completed. The work is dedicated to my wife, Heidi, and my son, Gabriel.

Each of the solo parts has been composed with the properties and characteristics of the given instrument in mind, and therefore each version of Pathways presents a unique relationship between soloist and ensemble. For the composer, the obvious challenge in such a project is in composing individual solo parts which have no direct influence on or relationship to one another, yet which are organically linked to the single fixed accompaniment.

The conceptual metaphor for Pathways is that of a traveler and his/her unique and personal relationship with the surroundings on any given journey. Though a single road may be taken by several individuals (or by the same individual on different occasions), the various experiences and responses to a particular environment may differ substantially. Such factors as time of day, climate, or the traveler's mood can have a profound effect upon the experience and consequent response of the individual. In the case of this work, the orchestra acts as a sonic landscape through which the soloist (i.e., the traveler) passes. As the solo part is intended to reflect the unique "personality" of a particular featured instrument, these may differ from one another substantially, to the extent that each section within the work as a whole may be directed (and subsequently perceived) in a number of different ways, thus influencing its dynamic unfolding.

The first in the series, Pathways: Opposing Forces was composed for trombonist Andrew Glendening, and was supported in part by a grant from the Margaret Fairbank Jory Copying Assistance Program of the American Music Center. This version, which received honorable mention for the 1994 ASCAP Rudolf Nissam Award competition, was first performed on 9 October 1993 at the University of North Dakota by Andrew Glendening with John Deal conducting the Greater Grand Forks Symphony Orchestra. Here the relationship between trombonist and ensemble is one of contention, with the two forces pitted against one another throughout. Pathways: Opposing Forces is divided into three movements, the first of which, Fractured Horizons, is a study in entropy, where the trombonist seems to push the ensemble beyond its breaking point. Here the concept of "horizon" is evoked, from the ellusive points at the edge of the earth to the cosmological event horizon at the boundary of a black hole. The second movement, The Searcher, is intended as a tribute to exploration and questioning, and to those who dedicate their lives to such pursuits in any field. The third movement, Butterfly Storm, is named for a principle known as "sensitive dependence on initial conditions." This pertains to those systems which develop exponentially rather than geometrically, where minute deviations in an early stage can lead to extremely divergent results. Studied by meteorologist Edward Lorenz in the early 1960's and initially applied to weather systems, the so-called "Butterfly Effect" is a reference to the hypothetical notion that a butterfly stirring the air today in Peking could ultimately generate storm fronts in New York City next month.

Models used in Pathways are drawn from various natural phenomena such as numerical sequences (which, though ubiquitous, are often overlooked), fractals (recursive structures, as are found in crystals, pinecones, or broccoli flowers), chaotic systems (such as water currents or weather systems), and entropy (the increasing degree of disorder within the physical universe, as demonstrated by the breaking of a glass or by the natural decay of an organism). The following summary should serve to illustrate how these various systems are applied and manifested within Pathways:

The entire work is divided into sections based upon the numbers 1, 2, 3, 5, 7, 11 (prime number series), which recur at multiple levels within the work, including rhythmic patterning, pitch sequences, and even the number and distribution of the orchestra parts (fractal progression). The large-scale sections are then superimposed to create a series of seemingly irregular but symmetrical structural points (palindrome). Each of these overlapping sections is characterized by either a steady or dynamic state (stasis/entropy) in one of five parameters: timbre, texture, volume (i.e., dynamic level), register, and tempo. These sections may interact and develop in either a linear (causal) or non-linear (chaotic) fashion. On the local levels, instrumental lines may either attract or repel one another (magnetic fields) in any number of ways.

Pathways is a series of works for solo instrument and chamber orchestra consisting of a single, fixed orchestral accompaniment through which the featured instrument wends its way. To date, versions for trombone, percussion, and soprano saxophone have been completed. The work is dedicated to my wife, Heidi, and my son, Gabriel.

Each of the solo parts has been composed with the properties and characteristics of the given instrument in mind, and therefore each version of Pathways presents a unique relationship between soloist and ensemble. For the composer, the obvious challenge in such a project is in composing individual solo parts which have no direct influence on or relationship to one another, yet which are organically linked to the single fixed accompaniment.

The conceptual metaphor for Pathways is that of a traveler and his/her unique and personal relationship with the surroundings on any given journey. Though a single road may be taken by several individuals (or by the same individual on different occasions), the various experiences and responses to a particular environment may differ substantially. Such factors as time of day, climate, or the traveler's mood can have a profound effect upon the experience and consequent response of the individual. In the case of this work, the orchestra acts as a sonic landscape through which the soloist (i.e., the traveler) passes. As the solo part is intended to reflect the unique "personality" of a particular featured instrument, these may differ from one another substantially, to the extent that each section within the work as a whole may be directed (and subsequently perceived) in a number of different ways, thus influencing its dynamic unfolding.

The second in the series, Pathways: Revolution was composed for Daniel Hostetler, and was supported in part by a grant from the Jerome Foundation through the Minnesota Composers Forum Composer Commissioning Program. The primary impetus behind this version was the Los Angeles riots of 1992, as reflected in the confrontational character of the solo percussion part: here the soloist acts as aggressor, responding to the orchestra with apocalyptic fury throughout. The work is in four movements, each of which is named for the time and location of a potential outbreak of violent activity in the Los Angeles area. In Fairfax, 5:38 am. Tuesday., the soloist begins unobtrusively, gradually emerging to wage an all-out assault upon the orchestra; the movement closes with a series of explosive attacks from the soloist as the orchestral accompaniment eventually breaks down. Cahuenga, 11:57 pm. Friday. opens with a confrontation between the orchestral percussion and the soloist, the latter inevitably overtaking only to contend with the brass. Following this opening onslaught, the percussion becomes uncharacteristically passive, acting in concord with the orchestra for the remainder of the movement. Sepulveda, 3:14 pm. Sunday. begins quietly, gradually building in intensity throughout; here the soloist reacts to the orchestra, culminating in an aggressive exchange between the soloist and orchestral bass drum. In Lankershim, 10:24 am. Wednesday., a violent flourish in the solo percussion gives way to a placid yet brief orchestral introduction. The remainder of the movement engages the entire orchestra in contention with the furious moto perpetuo of the solo percussion. Even as the forces relent at the conclusion of the work, there remains an atmosphere of unrest and discontent. Pathways: Revolution is in no way intended as a social or political manifesto, but rather as a response to the vivid images and profound consequences of such domestic social strife.

Models used in Pathways are drawn from various natural phenomena such as numerical sequences (which, though ubiquitous, are often overlooked), fractals (recursive structures, as are found in crystals, pinecones, or broccoli flowers), chaotic systems (such as water currents or weather systems), and entropy (the increasing degree of disorder within the physical universe, as demonstrated by the breaking of a glass or by the natural decay of an organism). The following summary should serve to illustrate how these various systems are applied and manifested within Pathways:

The entire work is divided into sections based upon the numbers 1, 2, 3, 5, 7, 11 (prime number series), which recur at multiple levels within the work, including rhythmic patterning, pitch sequences, and even the number and distribution of the orchestra parts (fractal progression). The large-scale sections are then superimposed to create a series of seemingly irregular but symmetrical structural points (palindrome). Each of these overlapping sections is characterized by either a steady or dynamic state (stasis/entropy) in one of five parameters: timbre, texture, volume (i.e., dynamic level), register, and tempo. These sections may interact and develop in either a linear (causal) or non-linear (chaotic) fashion. On the local levels, instrumental lines may either attract or repel one another (magnetic fields) in any number of ways.

Pax impotens was composed in March of 1989 as one of two documents for the doctoral qualifying examinations at Indiana University. The work was first performed at Indiana University on 26 October 1989.

Acting as a quasi-introduction, the brief first movement is structurally somewhat rhapsodic and is characterized by a gradual refinement of the basic raw materials presented in the opening. The final section contains references to elements within the following movement. By contrast, the second movement is tightly structured, and consists of a solo line that is continuously passed throughout the ensemble, sporadically accompanied by a meandering filigree-like texture in the remaining trio.

Composed in March of 1985, Prime Set is a twelve-part canon for solo percussionist, nearly all the parameters of which are based upon the prime number set.

The percussion instruments are divided into three groups of four instruments/timbres each: skin (tambourine, tom-tom, high and low bongos), wood (wood block, temple block, castañets, pod rattle), and metal (sleighbells, cowbell, brake drum, gong). In addition, the percussionist uses four different mallets, thus enhancing the variety of attack possibilities.

The canon subject (stated twice in each of the twelve "voices") is basically an ordering of the twelve available timbres, each successive voice being a transposition of this timbral "row" (via matrix), as well as a diminution of durational values, resulting in a gradual increase in density. With the entry of the final voice, the subject is gradually augmented within each part, creating a textural dissipation as each voice finishes its statement of the subject.

The work is notated using a four-line tablature staff, each line representing a different mallet; instruments are denoted by twelve different symbols, the placement of which on the staff indicates the mallet(s) to be used.

Prime Set is dedicated to percussionist David Yoken, who premiered the work on 22 October 1985 at the University of California, San Diego.

Riot Act was composed in October and November of 1992 on a commission from Raul Ornelas and the Lamar University Trumpet Ensemble, who first performed the work on 12 May 1993 at the International Trumpet Guild Convention in Akron, Ohio. The work is dedicated to the victims of the 1992 Los Angeles Riots.

The ensemble is comprised of a solo flügelhorn and nine trumpets, the latter divided into two groups, a quartet and a quintet. The flügelhorn soloist acts as the protagonist throughout, playing a precisely notated part characterized by frequent and extensive timbral and rhythmic modulations. The trumpet quartet (led by a piccolo trumpet) plays an antagonistic role; its parts are more freely notated, even somewhat improvisational (though within strictly defined limits). The trumpet quintet is characterized primarily by repeated patterns that are superimposed, fragmented, and transformed during the course of the work. The quintet acts as a chorus initially (serving to accompany the action downstage), gradually becoming more aggressive as the work progresses, to the point that the quartet is overtaken and eventually driven offstage. The final section consists of a flügelhorn soliloquy, accompanied by an offstage trumpet quartet.

the road in its unfoldings was composed between April of 1996 and August of 1997 for Eugene Corporon and the North Texas Wind Symphony, who premiered the work at the University of North Texas on 26 February 1998. The work was supported in part by grants from the University of North Texas and the American Music Center.
the road in its unfoldings is essentially a passacaglia in twenty-one variations. Unlike the Baroque model, however, the subject is frequently obscured and distorted (metrically, registrally, etc.), often beyond recognition, although it is presented in its entirety within each and every variation. Though the work is not serial, the subject itself consists of a twelve-tone row derived from the opening four pitches of the second movement of Stravinsky's Symphony of Psalms (C-Eb-B-D), which is presented in inversion as the first four notes of the subject; the remainder of the subject is generated from this opening four-note cell, and is made up entirely of major and minor thirds and sixths. The complete statement of the subject consists of two seven-measure periods of eleven notes each; the second period is related to the first by retrograde-inversion, pivoting around the tritone Bb/E. This seven-measure periodic structure is reflected in the twenty-one variations, each of which is either seven, fourteen, twenty-one, or twenty-eight measures long.

The conceptual model for this work is biologist D'Arcy Wentworth Thompson's book On Growth and Form (1917), an elegantly presented exploration of the functional relationships between various organic forms through mathematical paradigms and processes (e.g., Cartesian graphs, algebraic formulae). Though presenting mathematical support for much of the work of Charles Darwin (e.g., The Origin of Species, The Descent of Man), Thompson's work does not contain the hierarchical implications — nor the contentious religious ramifications — of "evolution" as presented by Darwin; rather, it is an objective analysis of structural phenomena as manifested in a variety of organisms. The title of the present work is derived from the poem “Volunteers” by Alice Fulton (Sensual Math, 1995), part of a sequence that draws upon genetics and evolution as an integral part of its subject matter. The titular line is part of a series of metaphors for the evolutionary process:

But evolution is a fugue
without finale. News that stays
news. The road in its unfoldings.

The twenty-one variations are linked by a chain of temporal modulations organized palindromically, with the first and final variations serving as introduction and conclusion: the first ten variations are linked in such a way as to produce a gradual, non-linear accelerando (from MM 40 to MM 200), while the final ten variations reverse the process (returning to MM 40 at the conclusion). Each half of the work is also characterized by a gradually ascending ambitus, beginning in the lowest register of the ensemble and concluding in the highest register. Although this process is clearly manifested in the first half, the registral trajectory in the second half follows a less direct path, becoming more erratic as the work progresses. The central variation (XI) acts as a fulcrum in this structure: the sudden and dramatic change in tempo, register, and overall character result in a sense of repose and reflection before the process resumes.

As a way of elucidating this process, there is imbedded within the structure a series of relationships between the variations in the first half of the work and those in the second half (as illustrated below). For example, Variation XVIII is simply a reworking of Variation IV with the addition of woodwinds and percussion. The two percussion variations (X and XII) that flank the central variation are structurally identical, the differences being almost exclusively timbral (the former is for ringing metals, the latter for wood and membrane instruments). Elements of Variation VI reappear throughout Variation VII, and again in Variation VIII (which itself is a composite of three variations — VI, IX, and XVII — representing past, present, and future). Variations are also grouped to form larger structural units: e.g., Variation I through III function as an individual section; transitions between variations differ significantly, some being rather subtle (e.g., between Variations IX and X), others quite abrupt (e.g., between Variations III and IV).
Each variation is also presented as an homage to a different twentieth-century composer, as indicated by the initials which follow each in the score. While some of these references may be readily apparent, most are rather subtle, even elusive. In any case, it is has not been the composer’s intention to represent the dedicatees through stylistic imitation or overt musical appropriation, but rather to acknowledge significant musical influences.

Rubber Angels was composed between July and December of 1987 at the request of Cindy Earnest and the La Jolla Woodwind Quintet.

The work is in three interrelated movements, the first of which is a somewhat static isorhythmic unfolding of a single pitch/rhythmic ordering, presented at different transpositional/temporal levels. As each instrument follows its own trajectory, the composite density increases until the texture is completely saturated. Just prior to this point, however, a series of interruptive outbursts is introduced into the system, increasing in frequency until eventually overtaking the established texture.

The second movement begins with the interruptive material from the previous movement, now condensed in register and more urgently iterated. The basis of this movement is a gradually ascending microtonal cluster that spans nearly the entire range of the ensemble. Between the aforementioned interruptions (which decrease in duration and frequency as the movement progresses) are several brief interpolations of material extracted from the other movements, which is presented by various instrumental pairs.

The third movement opens with an introductory flurry (consisting of the original pitch ordering from the first movement) that moves rapidly through the ensemble. The primary focus of this movement is a single melodic line that is continuously embellished and passed throughout the ensemble. This "melody" is strictly based upon the composite pitch ordering (i.e., resulting from the superimposition of all individual orderings) of the entire first movement. Beneath this line murmurs a rhythmically active though harmonically static accompanimental fabric, which itself had been previously foreshadowed. The movement proceeds in a somewhat aimless manner until, as in the previous movements, there is a disruption in the system: in this instance, the interruptive material is silence, a structurally significant element in the opening of the first movement; here, however, it acts as a deteriorative factor, to the eventual elimination of musical material and, thus, the conclusion of the work.

Der Schönheitsmolch ("The Beauty-newt") is one of a series of short works for solo instrument based upon characters from Der Ohrenzeuge: Fünfzig Charaktere ("Earwitness: Fifty Characters"), written in 1974 by the Bulgarian-born British-Austrian novelist Elias Canetti (1905-1994). Canetti’s distinctive studies incorporate poetic imagery, singular insights, and unabashed wordplay to create fifty ironic paradigms of human behavior. This collection of works, begun in 1997, was inspired by the vividly surreal depictions of Canetti’s characters and include works for contrabass, violin, bass flute, ocarina, contrabassoon, glass harmonica, alto saxophone, trumpet, percussion, guitar, and bass saxophone.

Der Schönheitsmolch was completed in October 2008 for bass saxophone specialist Andreas van Zoelen.

Die Silbenreine ("The Syllable-pure Woman") is one of a series of short works for solo instrument based upon characters from Der Ohrenzeuge: Fünfzig Charaktere ("Earwitness: Fifty Characters"), written in 1974 by the Bulgarian-born British-Austrian novelist Elias Canetti (1905-1994). Canetti’s distinctive studies incorporate poetic imagery, singular insights, and unabashed wordplay to create fifty ironic paradigms of human behavior. This collection of works, begun in 1997, was inspired by the vividly surreal depictions of Canetti’s characters and include works for contrabass, violin, bass flute, ocarina, contrabassoon, glass harmonica, alto saxophone, trumpet, and percussion.

Die Silbenreine was completed in April of 2000 and composed for Thomas Bloch.

Die Sternklare ("The Starry Woman") is one of a series of short works for solo instrument based upon characters from Der Ohrenzeuge: Fünfzig Charaktere (Earwitness: Fifty Characters), written in 1974 by the Bulgarian-born British-Austrian novelist Elias Canetti (1905-1994). Canetti’s distinctive studies incorporate poetic imagery, singular insights, and unabashed wordplay to create fifty ironic paradigms of human behavior. This collection of works, begun in 1997, was inspired by the vividly surreal depictions of Canetti’s characters and include works for contrabass, violin, bass flute, ocarina, contrabassoon, glass harmonica, alto saxophone, trumpet, and percussion.

Die Sternklare was completed in June of 2006 for percussionist Christopher Deane, who first performed the work at the University of North Texas on February 20, 2007.

The Three Ceremonial Pieces were composed between March and May of 1994 for Jean Hellner and Keith Born, to whom the work is dedicated. The entire work is based upon a series of proportional relationships, and is heavily indebted to Renaissance isorhythmic techniques. Each piece is unique in the application of the various systems involved, and each makes reference to a particular artist (as implied by the titles).

The first piece, Stained Glass, is a parody of sorts on the music of American minimalist composer Phillip Glass, though the pitch language is distinctly uncharacteristic (hence the title). This piece is in 6/4, divided simultaneously into three groups of two (upper voice) and two groups of three (middle voices), while the bottom voice plays a pedal moving at the rate of one note per measure. Thus, the rhythmic proportions of the voices are (from soprano to bass) 5:1, 3:1, and 2:1. The cycle repeats every seven measures, modulating upwards a whole step each time. The top and bottom voices are derived entirely from a synthetic scale constructed of alternating whole- and half-steps in regular patterns of one, two, and three; the result is a scale which repeats every other octave. The inner voices are considered "chromatic" in that they utilize tones outside of this "scale." There are also various trompes l'oreille: for example, the top line consists of an ascending five-note repetitive pattern which is continuously transposed downard through the derived scale; once this pattern reaches its nadir, it ascends two octaves to repeat the cycle from the top (this occurs every eight measures, thus phasing with the seven measure cycle of pitches).

The second piece, Escher Staircase, is an homage to the work of graphic artist M.C. Escher, and is modeled in particular after his etching Ascending and Descending. This piece is in 12/8, with rhythmic proportions of 3:1 (soprano:bass), 2:1 (bass:tenor), 5:1 (tenor:alto); thus the alto voice acts as a cantus firmus. Unlike the regular patterns in the first and third pieces, however, the soprano line is more rhythmically varied, consisting of irregularly alternating patterns of triplet eighths, trochees, and sustained trills. The constantly descending bass line (a single measure pattern of 1-7-6-5, in dotted quarters) follows a simple circle of fifths progression, modulating each measure (thus returning to the beginning of the cycle every twelve measures); the tenor line (in dotted half-notes) repeats every five measures, and the alto cantus firmus changes every two-and-a-half measures, following the pattern of a rising minor 3rd and falling major second throughout, and thus also repeating its pattern every five measures (both the tenor and alto parts modulate a semitone upward with each repeat, and cycle back to the original transposition after 60 measures, a 5:1 relationship with the twelve-measure bass cycle); the soprano repeats its pattern every seven measures, yet it modulates downward a semitone with each repeat.

The final piece, Bachfreuden, shares a spiritual ancestry with J.S. Bach's Jesu, Joy of Man's Desiring from the 147th Cantata and, to a lesser degree, with the second movement of Beethoven's "Pastoral" Symphony (as reflected in the punning title). This piece is in 6/8 and follows the rhythmic proportions (from soprano to bass) 3:1, 2:1, and 5:1. The bass line (cantus firmus) is similar to that in the second piece, though here the pattern is 5-4-3-2(-1), modulating a perfect fifth downward every twenty measures. The bass line defines the key region by acting as a tonic pedal throughout; the other three voices modulate with the bass every five measures, and each repeats its pattern every twenty measures.

These pieces are intended for celebratory purposes, and may be played as a set or individually. Because all three pieces are based on perpetual motion processes that conclude at the point of commencement, each could conceivably be repeated ad infinitum.

3 Haiku for mezzo-soprano and percussion was composed in September of 1989 as one of two documents that comprise the major field portion of the doctoral qualifying examinations at Indiana University. A text is provided for this project and the composer is required to compose a setting given certain specifications within a twenty-four hour period. In this instance, the following haiku by John Ashbery were provided:

     I. A pencil on glass—shattered! The water runs down the drain.
    II. In rays and crystals, sometimes with a shred of sense, an odd dignity.
   III. What is the past, what is it all for? A mental sandwich?

Because of the brevity of the text and the time constraint of the project, these settings are correspondingly terse. My continuing interest in numerical sequences and resultant cyclical patterns directed me toward a formal design based upon the numbers 3, 4, and 5, which is applied proportionally at several structural levels and manifested in a variety of ways. This relationship is reflected at the deepest level in the durations of each haiku setting: the first setting is 1:20, the second is 1:40, and the third is 1:00 (thus resulting in the ratio 4:5:3); each individual setting is itself proportioned similarly, these divisions being delineated by textural and dynamic contrast as well as pitch distribution (pitch material being likewise divided into groupings of 3, 4, and 5); finally, this sequential pattern is reflected at the surface within the basic rhythmic structure.

As for the actual setting of the texts, each of the three haiku is itself separated into three parts, these portions then being set in contrasting ways according to the system outlined above. Thus, while the texts themselves are brief, the interpretive possibilities contained within them are thoroughly explored in this ostensibly rigid (though inevitably liberating) manner of text setting.

Composed in April of 2000, Three Little Pieces was commissioned by Doug Golden for his daughter Chloe's ninth birthday. Doug, an amateur bassoonist, was interested in a set of pieces he could play with Chloe, who recently began studying piano; while the resulting pieces are intended to be played for diversion, they also serve as exercises in basic piano skills and studies in various compositional techniques.

The theme of Barcarolle is based on the name of my son, Gabe, who also recently began studying the piano. The G-A-Bb-E motive is treated as the germinal cell, and is continuously varied throughout the movement. The term "barcarolle" was originally used to describe a Venetian boating song, though the term has since been applied to a number of instrumental and vocal compositions of similar character. The melodic and harmonic motives in Nightmusic are derived from the names of the five members of the Golden family: the left hand of the piano plays an ostinato on "Douglas" (D-G-A-Eb), while the bassoon plays motives based on "Chloe" (C-B-E) and "Golden" (G-D-E); the right hand of the piano interjects the names "Lisa" (Eb-A), "Nathan" (A-B-A), and "Sophia" (Eb-B-A). (The German spellings for 'Eb' and 'B' — 'S' and 'H', respectively — are applied here.) The final chord includes all of the pitches used in this movement. The Waltz is a study in mixed scale patterns: the bassoon plays a single octatonic collection throughout, while the piano begins with a G major pentachord in the right hand and a pentatonic scale in the left; in the second half of the piece, the right hand plays a pentatonic scale while the left hand plays a D minor pentachord. In the closing figure, the piano plays two different whole-tone scales in contrary motion. (Incidentally, while eleven pitches of the chromatic scale are heard throughout the movement, the pitch 'F' occurs only once — in the final chord.)

3 Love Songs was composed between March and July of 1985 for mezzo-soprano Heidi Dietrich, to whom the work is dedicated.

The entire work is structured upon cyclical patterns generated by the numbers 3, 4, and 5 on three levels: additive, multiplicative, and exponential. This structural foundation (which affects all parameters including pitch, rhythm, and text) is adhered to quite rigidly in the first song, though gradually less so in the second and third songs, there being a gradual trend from predominantly abstract to predominantly intuitive compositional processes. In addition to these formal considerations, there has been a manipulation of pitch materials within the second song in order to incorporate melodic fragments from Maurice Ravel's Rapsodie Espagnole and Cesar Franck's Symphony in D Minor (two works which are particularly relevant to the subject of 3 Love Songs), the resultant motivic material in turn forming the basis of pitch choices in the final song.

The following is a brief synopsis of the work, illustrating the various factors behind its progress from abstraction to intuition:

Song I:
• emphasis on planar (textural) elements;
• text presented intact;
• pitch material and attack points are fixed;
• with one brief exeption, voice and instruments remain within the range of an octave;
• texture and dynamics remain constant, though voice predominates over instruments.

Song II:
• emphasis on linear (melodic) elements;
• text fragmented into into individual words and syllables;
• some freedom with pitch material, though attack points remain fixed;
• range and dynamics are expanded, as is the degree of textural variety;
• relation of instruments to voice becoming less accompanimental and more integrative.

Song III:
• emphasis on points (timbre);
• text based entirely upon isolated phonemes;
• complete pitch freedom; attack points still fixed, though highly flexible;
• maximum variety in all parameters;
• instrumental and vocal parts fully integrated and relatively equal.

The text was written by the composer, specifically for this work:

[Spring!]
blossoming with a constellatory eye
Icarus (boyish charm) in
deep blue vernality...

as celestial being
surrounds verdant sky; above,
hyperborean dawn breaks thawing starlight
[Love!]

I have been an admirer of Alice Fulton’s poetry for several years now, and have used her evocative turns of phrase as the titles of two of my previous works. I had wanted to compose an actual setting of her poems for quite some time, but never found the appropriate medium—the words themselves just seemed too perfect to tamper with musically. It finally occurred to me that what I was really interested in creating was an elaboration of a poetry reading—after all, poets often “perform” their own works just as musicians do, so why not take that as a point of departure to create a sonic environment around the spoken words? These three poems from Fulton’s 2001 collection Felt lend themselves particularly well to such a setting.

Three Poems from Felt was first performed by Alice Fulton on 4 April 2005 at the University of North Texas.

Each of the Three Studies in Change is modeled after a different process associated with the natural world. From a conceptual standpoint, the first movement is concerned with growth, the second with leveling, and the third with disintegration.

The first study, evolution, is modeled after a biological process which generally occurs over thousands of years. Musically considered, the movement begins with a single pitch which gradually expands outwards, first resulting in dense clusters, then eventually growing into individual lines covering the full registral spectrum of the ensemble, at which point the tuba line becomes the ostinato bass line for a passacaglia. As the movement progresses, the rhythmic activity also increases, becoming more contrapuntally and less texturally oriented.

The second study, erosion, is modeled after a geological process which generally occurs over millions of years. Here the granitic isorhythm, a jagged, three-octave homophonic line of 14 pitches transposed and cycled through 12 durational units, becomes less profiled and more drawn out through the course of the movement. Additionally, a fluid tone-cluster figure is interjected at several points, acting to wear down the isorhythmic figure.

The third study, entropy, is modeled after a physical or cosmological process, which in the former may occur during the course of seconds and in the latter occurs over billions of years. A mechanical ostinato figure undergoes gradual pitch, rhythmic, and timbral alterations, eventually losing all sense of line and meter as the figure disintegrates.

These studies are structurally interrelated in several ways. For example, the tempo of the first study remains at MM.60 throughout; the second begins at MM.120 and gradually slows down to MM.60 by the end; the last study is at MM.120 throughout. Thus, the outer studies taken together reflect a slow to fast progression, while the inner one is characterized by the reverse process. Regarding pitch relationships, the second study closes with a cluster around middle C, the focal point of the opening of the first study; taken together, the first and second studies project a registral expansion and contraction around middle C. By contrast, the pitches at the beginning of the third study represent the complement of the closing pitches of the second; this final study concludes with all twelve chromatic tones present.

Three Studies in Change was commissioned by Morehead State University in commemoration of its 75th anniversary for the MSU Faculty Brass Quintet, who first performed the work there on 10 April 1997.

Die Tischtuchtolle ("The Tablecloth Lunatic") is one of a series of short works for solo instrument based upon characters from Der Ohrenzeuge: Fünfzig Charaktere ("Earwitness: Fifty Characters"), written in 1974 by the Bulgarian-born British-Austrian novelist Elias Canetti (1905-1994). Canetti’s distinctive studies incorporate poetic imagery, singular insights, and unabashed wordplay to create fifty ironic paradigms of human behavior. This collection of works, begun in 1997, was inspired by the vividly surreal depictions of Canetti’s characters and include works for contrabass, violin, bass flute, ocarina, contrabassoon, glass harmonica, alto saxophone, trumpet, and percussion.

Die Tischtuchtolle was composed in October of 1997 and revised in May of 2007. The work was first performed by violinist Nagina Stoyanova in Sofia, Bulgaria on 17 November 2001.

Transient Forms is a pair of studies based upon models drawn not only from musical sources, but from mathematics and the natural sciences as well (specifically fractal geometry, evolutionary biology, and cosmology). In the first movement, Corridors, the formal design is a hybridization of several formal models. In one respect, it may be considered a kind of modular concerto grosso: unlike the Baroque model where the solo group (concertino) remains constant throughout, here the size and makeup of the concertino is continuously altered or adapted. It is also a passacaglia which unfolds within a palindromic superstructure. Rather than a continuous series of variations based upon a regularly repeating melodic passage, however, this passacaglia "subject" is derived from a series of expanding and contracting cells that recur in different guises within each variation. The composite form of this passacaglia/concerto grosso is the result of a regularly repeated numerical series which occurs at several levels; that is, each section and sub-section of the whole reflects the same internal design, a pattern which recurs even in the basic pitch and rhythmic cells at the surface. This fractal design is analogous to that found in nature within crystals or broccoli flowers, which are themselves structurally self-similar.

The second movement, Fluxus, consists almost exclusively of a twelve-note aggregate, initially spanning the entire registral spectrum of the orchestra. As the movement progresses, the cluster slowly collapses in upon itself, eventually resulting in a twelve-note cluster, then a quarter-tone cluster, and finally culminating in a full orchestral unison on C#. Fluxus is based upon the same numerical progression used in Corridors, though more rigidly applied: here the structural divisions are not superimposed (as in Corridors), but are rather arranged sequentially, creating the basic rhythmic cell upon which the entire movement is constructed. Continuous timbral modulations and registral compression occur throughout the movement, these being punctuated by a series of brief flourishes in the percussion, piano, and harp. The overall effect is similar to the subtle and continuous transformation of the surrounding vista one observes while traveling across long stretches of land. The aforementioned compression of register and corresponding increase in textural density occur within a tripartite form, each of the three distinct sections being characterized by a change in the degree of disorder (entropy) within the numerical system. For instance, throughout the first major section there is an increase in entropy, as the initial purity of the system is gradually debased by a buildup of internal activity. At the first large juncture, this buildup is abruptly halted, in a manner analogous to the way an automobile windshield wiper clears the accumulation of raindrops from a windshield. From this point the entire process begins again, continuing in the same manner throughout the second major section. The movement reaches a climax at the juncture of the second and third sections (distinguished by the highest degree of contrapuntal activity thusfar in the movement), whereupon the process is reversed: in the third and final section, there is a decrease in entropy as the initial order of the opening is gradually restored.

Transient Forms was premiered on 10 March 1993 by the Indiana University Symphony Orchestra, conducted by the composer.

Two Diametrically Opposing Units: Vacuum & Plenum is a set of two graphic scores to be realized freely by any solo performer or combination of performers. As the title suggests, the two sections are individual entities that are highly contrasted in terms of density, both aurally and visually.

The work was composed in August of 1982, and first performed on 7 January 1984 in Santa Monica, California.

The two lullabies, "Weep not my darling" and "Care-charming sleep," were originally part of the extended stage work dreaming the dark down slowly, composed in collaboration with choreographer Emily B . Stuart in 1990 for a production at Indiana University. These lullabies were extracted from the larger work in April of 1997 as part of The Lullaby Project, sponsored by Not Nice Music and composer Barry Drogin in honor of the birth of his son, Max.

As the original libretto — written by Stuart — draws heavily upon the subject matter of the complete stage work it may seem a bit obscure or even inappropriate out of that context; optionally, these lullabies may be sung as vocalises on a neutral vowel sound.

Wake for K.G. was composed in February of 1993 as a memorial response to the recent death of composer Kenneth Gaburo. The work is in five sections, each divided into subunits of irregularly alternating long and short sections based upon proportions derived from the Morse Code pattern for K-E-N-N-E-T-H G-A-B-U-R-O. These nested sections are not defined by clear thematic or gestural contrasts, but rather by subtle fluctuations in timbre and texture within the five brass instruments. Except for these gradual and continuous transformations, the brass instruments create an essentially static field of sound based upon the five pitches derived from the composer's name (kEnnEtH GABuro, = E B G A Bb). The rapid tattoos in the snare drums, which delineate the five sections (corresponding to the syllables in the composer's name), are derived from Morse Code transcriptions of the composer's birth and death dates, and continual knells in the tam-tams correspond with each of the thirteen letters of his name. The repeated rhythmic patterns in the bass drums that continue throughout the work are based upon the same Morse Code patterns that determine the structure of the entire work (the composer's name being divided between the two drums, which play in different tempi). The result is a sonic ritual celebrating the passage from life to death.

Wake for K.G. was first performed by the Nova Ensemble at the University of North Texas on 2 March 1993.

Der Waßerhehler ("The Water-harborer") is one of a series of short works for solo instrument based upon characters from Der Ohrenzeuge: Fünfzig Charaktere ("Earwitness: Fifty Characters"), written in 1974 by the Bulgaria-born British-Austrian novelist Elias Canetti (1905-1994). Canetti’s distinctive studies incorporate poetic imagery, singular insights, and unabashed wordplay to create fifty ironic paradigms of human behavior. This collection of works, begun in 1997, was inspired by the vividly surreal depictions of Canetti’s characters. To date there are nine works in this series, composed for contrabass, violin, contrabassoon, ocarina, glass harmonica, bass flute, alto saxophone, trumpet, and percussion.

Der Waßerhehler was composed in July 1997 and revised in September 2000 for Helen Bledsoe, who first performed the work on 14 November 2000 in Sofia, Bulgaria.

Zwei Parabeln nach Franz Kafka is a setting of two of Kafka’s parables—“Die Brücke” (“The Bridge”) and “Der Geier” (“The Vulture”)—for narrator, mixed choir, and pre-recorded computer music. The choir part is comprised of fragments from Kafka’s texts in the original German, while the narrator reads the complete texts in translation. The computer music is derived entirely from the choral music, which has been manipulated in order to extend the timbral and textural range of the ensemble.

Zwei Parabeln nach Franz Kafka was composed between January and May of 2006 for Henry Gibbons and Canticum novum, who first performed the complete work on 20 November 2006 at the University of North Texas.