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.

The PhD investigates the creation of closeness and immediacy through composition, exploring the processes of capturing, processing and composing sound materials, their spatialisation both during production and performance, and the sound materials' contexts. It is suggested that closeness can be understood spatially, temporally and in addition as being familiar with sounds and musical languages; whereas immediacy adds the meaning of being involved at some level in the shaping or decoding of the meaning of sounds of a composition. In that sense closeness and immediacy together form entry-points for the listener to make him/her become engaged in the compositional narrative. Seven original acousmatic and mixed media works are presented in the portfolio. These are stone and metal, empty rooms, weave/unravel, skalna, pulses, beeps and triptych. The pieces rely on found sounds and their referential qualities, with both informing the compositional methodologies. They also borrow elements from soundscape composition, electronic music and film music. Over the development of the portfolio the inclusion of elements of other genres of music became a valuable source of inspiration and shaped the compositional methodology which lead to the development of a unique, personal style of composition. Three of the PhD’s compositions – pulses, beeps and triptych – investigate the musical opportunities of an acousmatic take on stems to improve the flexibility and perceived depth of spatialisation. The spatial layers of the compositions are split into parts of a soundfile. These parts can be mapped according to specific rules to the number of loudspeakers available. The portfolio pieces demonstrate that composing in spatial stems enhances spatial depth as close and distant sounds can be reproduced independently of each other on dedicated loudspeakers at the same time. The sounds of the distant loudspeakers merge with the acoustic properties of the performance space and therefore assist in making the composed spaces credible. In addition to the compositions, one original software tools are presented in the portfolio (PLib), as well as a substantial contribution to an existing tool (MANTIS Diffusion System). They aim to facilitate the production and performance of electroacoustic music. Their application and potential is briefly discussed in the commentary.

Cette thèse est une réflexion sur le ‘ūd (lutharabo-oriental) de concert. Celui-ci est étudié en tant que concept mettant en valeur une corrélation entre son évolution historique et organologique, le développement de la pensée compositionnelle des‘ūdistes (luthistes) et l’essai d’une représentation de cette pensée à travers une modélisation sémiotique. L’approche historique s’est focalisée sur la facture de l’instrument et a permis de relever la primauté des ‘ūds irakien et turque comme modèles privilégiés de ‘ūd de concert. Cette préférence est liée avec le développement de la pensée musicale des ‘ūdistes contemporains et leur pratique compositionnelle et interprétative. À travers une étude analytique de cinq œuvres pour ‘ūdde concert, cette pratique est conçue comme étant un espace compositionnel émergeant d’une interrelation entre trois espaces : un espace d’écoute, un espace formel et un espace sémantique. L’approche « spatiale » de la musique du ‘ūd deconcert, l’évolution de ses formes et les variations interprétatives des ‘ūdistes ont nécessité la réflexion sur la représentation de cette musique. La modélisation sémiotique d’un extrait analysé (2ème mouvement de l’Amiriyya de Naseer Shamma)est posée ici comme une alternative à la transcription traditionnelle, en créant un espace graphique inspiré des modèles de notation dans la musique contemporaine et accordé aux critères de l’espace compositionnel du ‘ūdiste. / This thesis is a reflection on the concert ‘ūd (Arab-easternlute). It is designed as a concept emphasizing a correlation betweenits historical and organological evolution, the compositional thought development of ‘ūdists (lutenists) on the one hand, andthe testing of a representation of that thought through a semiotic model, on the other hand. The historical approach focusedon the construction of the instrument and revealed the primacy of the Iraqi and Turkish ‘ūds as preferred models of theconcert ‘ūd. This preference is linked to the development of contemporary ‘ūdist’s musical thought and their compositionaland interpretative practice. Through ananalytical study of five musical works for this instrument, this practice is regarded as acompositional space of an emerging inter-relationship between three spaces : a listening space, a formal space and a semanticone. The spatial approach to music of the concert ‘ūd, the evolution of its forms and ‘ūd players interpretative variations havecalled for reflection on the performance of this music. The semiotic modeling of an analysed excerpt (2nd movement ofNaseer Shamma’s composition, l’Amiriyya) is placed here as an alternative to traditional transcription by creating a graphic”area” inspired by notation models in contemporary music and provided for the criteria of the ‘ūdist’s compositional space.