Abstract: Trilogy for Chamber Ensemble is a musical composition for thirteen instrumentalists with a total duration of 18 minutes. Although all three movements which make up the work are based on similar pitch, harmonic, rhythmic, and timbral materials, each movement serves as a separate unit and should be performed individually. The first movement, entitled Convoluted Arguments, explores the area between melody and texture, and between rhythm and stasis. Melodic lines and rhythmic profiles converge and diverge at various points in the piece, proceeding at different rates of harmonic change. Motivic gestures return, disappear, and reappear in various instrumental and timbral guises. A vague ritornello form shapes the majority of the piece, with a chorale-like middle section in which different instruments play a tactus which proceeds at different rates. By the end of the piece only motivic fragments, which are no longer reconciled with each other, remain. The title refers to the musical quibblings between instruments and to the non-linear haphazard rhetorical structure of the piece. The second movement is entitled Scherzo. The linear and vertical juxtaposition of somewhat varied elements in this movement is meant to be humorous. The third movement is entitled When the Moon Casts Shadows.... The piece is constructed as a graduated orchestral crescendo using a variety of instrumental combinations and harmonic fields. Much of the gestural, timbral, and textural language of this movement borrows tropes from the Franco-Russian school of orchestral writing. Though the music is never truly functionally tonal, certain tonal centers emerge as a result of more traditional principles of prolongational harmony, voice-leading, and doubling.