3 Inside passage

This thesis contains two volumes. The first is a written text that describes my compositional techniques in the context of an analysis of my Concerto for Piano and Orchestra. The second volume is the score of this work.Volume one is divided into two parts. Part I describes my compositional techniques and the original contributions of the thesis. These include the incorporation of psychoacoustic models of hearing into the creative process, as implemented by a computer program written by the author. I give detailed descriptions of models for dissonance and pitch commonality, and discuss my use of contour theory. Part II of the first volume illustrates these techniques through an analysis of the Concerto for Piano and Orchestra. The main topics of this analysis are the creation of background harmonic regions based on high pitch commonality to a referential sonority, and the integration of a basic shape or contour into all parameters and structural levels of the music.Volume two is the full score of the Concerto for Piano and Orchestra. This work has a duration of 23 minutes. It is scored for solo piano and a small orchestra consisting of flute (doubling on piccolo), oboe, B-flat clarinet, bassoon, horn in F, trumpet in C, trombone, two percussion and strings (44332). The Concerto is divided into four movements, played without pause, and two brief opening and closing sections