Publication Date


Document Type


First Advisor

Steg, Paul O., 1919-1995

Degree Name

M. Mus. (Master of Music)

Legacy Department

Department of Music


Instrumental ensembles--Scores; Electronic music


The form of this musical composition is a modified arch - ABCD[B/C]A (first motive only). The A section is melodic and moderately contrapuntal. The melodic and harmonic mat­erial of this section is generated from the whole tone scales. The crescendo-decrescendo idea is an important unifying idea which recurs in later sections. The B section begins with a fanfare in the brass instruments and develops into a rhythmic ostinato in the percussion. Over this ostinato occur contrapuntal fanfare-like figures in the winds. The harmonic material of the wind parts is generated from two six note chords which are used in alternating bars. The C section is in fugal style with two themes and their inversions used as subjects in the exposition sections. The thematic material of the fugue is derived from the same six note chords as are used in the B section. The D section contrasts with the fugue through the use of vibrant rhythms in changing meters. The melodic material was freely com­posed and is used in canonic style. The melodies are doubled at various intervals creating an effect known as planing. In the recapitulation, the B and C sections are heard simultaneously with various orchestration changes from their initial statements. The recapitulation of the A section occurs very briefly with the restatement of the crescendo-decrescendo idea heard in the tape part. The tape should be prepared using an electronic music synthesizer. The individual preparing the tape must use his own judgement concerning tone color, and he should bear in mind that I have used the taped synthesizer as a means of achieving variety and uniqueness of color. Since my technique of orchestration often emphasizes structure rather than color, however, the importance of keeping the tape in perspective cannot be overemphasized.


ii, 54 pages




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