| Summary: | I. Process: In this essay, the first chapter deals with my concentration on process in music composition, which holds as much importance to my practice as a composer as does the attention given to finished pieces. I include formative experiences with the music of Claude Debussy, Béla Bartók, John Cage and Franco Donatoni. In the second chapter, I explore my own process of composing by looking into each of the ten individual pieces from my PhD Portfolio of Compositions. II. Portfolio of Compositions: 1. Elegy for Fir Tree for eight strings (2004) 2. Coyote Nocturne for flute, violin and piano (2006) 3. The Indian Fort Theatre for string quartet (2006) 4. Three Moths for flute, piano and bass clarinet (2006) 5. Catalyst of Filament for celesta, harp and harmonium (2006) 6. Twister Season for vibraphone, marimba, two pianos, cello and double bass (2006) 7. Six Journeys for bass clarinet and piano (2006/2007) 8. horrifictionalexander graham belladonna for flute, guitar and bass clarinet (2007) 9. Stalking the Unseeable Animal for flute, clarinet, piano and string quartet (2007) 10. The Lightning Bug Hour for flute, vibraphone and piano (2008)
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