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This thesis includes an Introduction, which explains some of the ideas and procedures involved in a series of compositions I produced during the period from October, 2008 through November, 2011, a discussion of the works themselves individually and in roughly the same chronological order in which they were composed, and a summary of Conclusions which may be drawn. Included as an Appendix are texts for reference while listening to the vocal works. Complete scores of the works with representative recordings make up the main body of the thesis, except in the case of the solo piano suite Equilibria, where the score is included but the work remained unrecorded at the time of submission. Ideas discussed include some which unite or distinguish the processes of musical improvisation with/from more methodical modes of composition. Also the theme of musical collaboration is considered in contrast to the notion of the composer who works – or appears to work – in isolation. Research into traditions of music is regarded as important to compositional practice overall. Among the Conclusions is that my own orientation to these ideas places me in the category of post-minimalist composers. Throughout this discussion I have involved commentary from other relevant and important thinkers, critics and composers.