This master thesis analyses notational and textual methods of composing for improvisation. Ways of integrating space for improvisation, guided at different levels depending on the amount of information given, into a composition. The least guided being a one- or two-words exhortation (e.g., “play free!”) up to a clearly defined progression, with a specific number of bars, chords and rhythm. How the players involved in each compositional project reacted − intuitively, intellectually and with their instruments − to the given information has also been analysed. I have integrated information and space for improvisation in four of the five projects I wrote during my studies. Two original arrangements for big band, one composition for small chamber group, and eleven shorter pieces for sextet performed in my final exam concert. I also mention some compositional aspects and challenges I experienced in writing for wind ensemble, where I decided to not include any space for improvisation. Throughout the thesis I also describe situations, experiences, and anecdotes from my own background as instrumentalist and improviser, and how much they sometimes influenced the next step taken. This serves the purpose of putting the creative process of composing and improvising, the choices made while working, in a broader contest of life experienced.

Artistry, particularly musical, is subjective and success in artistry can be achieved by more than one route. I consider myself an autodidactic musician by the musical and compositional achievements I have made without formal music training. I chose to research the compositional traits of other autodidacts to see their successes and challenges with their knowledge. George Gershwin, Danny Elfman, and John Bucchino come from a different background, a different time period in music, and each comes from a different stylistic genre. This research describes each of these composers’ influences, approach to composing, and any advantages or disadvantages they have faced because of their lack of formal music and music theory training. I wanted to know what skills and instincts composers possess. As part of my study, I composed a song cycle of 10 original musical theatre-style pieces. Notating the sheet music for the songs was a large portion of the project. During the process, I recognized my level of music theory, patterns and habits in my writing, and engaged in the process of making my music accessible.

The interactive nature of video games offers players unique playthroughs of the same game. Choices made during gameplay, despite going through the same narrative story, create a journey that differs from other players. Music can help support a player's connection to the game's characters and narrative while also providing information to the player to guide their decisions. Ludomusicological studies in the past have shown how music can support a game's narrative, while also serving to inform players of changes in game states. The usability function of music, while crucial in this overall sonic experience, is not the sole purpose that music can fulfill. An area in ludomusicological research that's less explored is understanding how a composer's intent for their music is not indicative of the player experience but rather influences the way players play the game and how they are emotionally impacted by the music. Combat scenarios are an effective area that showcases the usability aspects of music as well as its impact on player presence, which will be demonstrated through the game Xenoblade Chronicles. By combining the principles of presence, immersion, engagement, topic theory, and adapting the dual semiotic approach of Iain Hart, this thesis seeks to analyze the composer's intent behind musical choices and how it shapes the overall player experience.

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