Thesis (MS)--Montana State University--Bozeman, 2009. / Typescript. Chairperson, Graduate Committee: Christopher H. M. Jenkins. Includes bibliographical references (leaves 59-61).

Thesis (M.A.)--University of Wisconsin--Madison, 1970. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (M.S. in Astronautical Engineering)--Naval Postgraduate School, September 2002. / Thesis advisor(s): Michael G. Spencer, Brij N. Agrawal. Includes bibliographical references (p. 83). Also available online.

Thesis (M.S.E.)--University of Washington, 1992. / Includes bibliographical references (leaves [72]-74). Issued also electronically via World Wide Web.

Thesis (M. Eng.)--Carleton University, 1992. / Also available in electronic format on the Internet.

Proefschrift--Utrecht. / Includes bibliographical references (p. 542-573).

Thesis (Ph. D.)--University of Texas at Austin, 2005. / Vita. Includes bibliographical references.

Thesis (Ph. D.)--University of Texas at Austin, 2007. / Vita. Includes bibliographical references.

This commentary accompanies the portfolio of electroacoustic works realised at the NOVARS Research Centre, and intends to provide insight into methodologies for acousmatic composition as researched at the University of Manchester between 2013 and 2016. Six compositions are presented in order of realisation, as follows: Frictions/Storms, Rise, Glitches/Trajectories, Transmissions/Intercepts, Reductions/Expanses, and Iteration/Banger. An analysis of each work in relation to research-specific topics is provided, adopting Denis Smalley's concepts of spectromorphology and space-form as appropriate syntax in the elaboration of compositional methodologies and overall outcomes. The research focuses primarily on the appropriation of transformed and synthesised sound materials in acousmatic spatial composition. Resulting works are intended for presentation in concert via the practice of live sound diffusion performance. The portfolio documents an arc of development working in fixed media formats incorporating live electronics processes into the realisation of multi- channel compositions, to finally arrive at a methodological merging of fixed media studio composition and live electronics performance practices. Additional supplementary materials in support of the portfolio and commentary are provided including Max coding patches, video tutorials, technical information and related audio materials.

A paper submitted to The University of Arizona College of Medicine - Phoenix, History of Medicine course.