Doctor of Philosophy / The aim of this compositional research project is to find new paradigms of expression and representation of musical information, supported by technology. This may further our understanding of how artistic intention materialises during the production of a musical work. A further aim is to create a software device, which will allow the user to generate, analyse and manipulate abstract musical information within a multi-dimensional environment. The main intent of this software and composition portfolio is to examine the process involved during the development of a compositional tool to verify how transformations applied to the conceptualisation of musical abstraction will affect musical outcome, and demonstrate how this transformational process would be useful in a creative context. This thesis suggests a reflection upon various technological and conceptual aspects within a dynamic multimedia framework. The discussion situates the artistic work of a composer within the technological sphere, and investigates the role of technology and its influences during the creative process. Notions of space are relocated in the scope of a personal compositional direction in order to develop a new framework for musical creation. The author establishes theoretical ramifications and suggests a definition for micro-composition. The main aspect focuses on the ability to establish a direct conceptual link between visual elements and their correlated musical output, ultimately leading to the design of a software called 3D-Composer, a tool for the visualisation of musical information as a means to assist composers to create works within a new methodological and conceptual realm. Of particular importance is the ability to transform musical structures in three-dimensional space, based on the geometric properties of micro-composition. The compositions Six Electroacoustic Studies and Dada 2009 display the use of the software. The formalisation process was derived from a transposition of influences of the early twentieth century avant-garde period, to a contemporary digital studio environment utilising new media and computer technologies for musical expression.

Thesis (M.S.)--University of Michigan, 1995. / Thesis date on spine.

Thesis (Ph. D.)--University of Missouri-Columbia, 2000. / Typescript. Vita. Includes bibliographical references (leaves 295-301). Also available on the Internet.

Thesis (M.S.)--University of Michigan, 1995. / Thesis date on spine.

Thesis (Ph. D.)--University of Missouri-Columbia, 2000. / Typescript. Vita. Includes bibliographical references (leaves 295-301). Also available on the Internet.

Thesis (M.A.)--California State University, Dominguez Hills, 1999. / Typescript (photocopy). "Fall 1999." Includes bibliographical references (leaves 25-26) and abstract.

This thesis portfolio discusses my journey as a Master of English graduate student at Southern Illinois University, Carbondale. I began as a graduate student in nineteenth-century American literature and switched concentrations halfway through my degree to Rhetoric and Composition. The decision to change programs was the result of my love for teaching beginning composition courses at SIUC. My passion for teaching drives each installment of this portfolio, focusing on my journey as a Graduate Teaching Assistant, my examination with a prominent theorist in the discipline of Rhetoric and Composition, and my interest in student engagement in the First-Year Composition classroom. My goal for this thesis portfolio is to offer a fresh perspective on Rhetoric and Composition, which allows me to explore my voice within the field.

Electroacoustic music has a unique ability to connect the listener to places, space and stories both real and imaginary. Each work within the portfolio explores specific objects, spaces and places. The intrinsic sonic qualities are explored and a musical narrative takes the listener through a newly composed imaginary space. Six original compositions are presented in this portfolio. The titles of these works are as follows: Lamenting, 192, All Along the Bell Tower, Oz, The Thing About Listening is…. and A Bit Closer to Home. Narrative structures that simulate a journey are used as a guide for the listener through immersive, virtual soundworlds. These spoken word and musical narratives also serve as a structural tool for the composer. Imagined and real sonic layers within stories and soundscapes are analysed, deconstructed and manipulated. These works convey a message, story or sense of place to the listener, while revealing sonic qualities that are not normally the focus of listening. My aim as a composer is to enhance the daily listening experiences of the listener, as they become more aware and appreciative of the sounds around them, through the sounds and spaces they experience in my music.

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