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Through an innate desire to present works with an underlying musical philosophy and a mastery of technical phenomena, this folio of compositions and critical commentary is an attempt to present a progressive collection of my original music with an accompanying philosophical and analytical examination. Within the folio, there is experimentation, use of many external and seemingly unrelated sources, and the employment of specific modern techniques when the underlying philosophy demands it. The folio demonstrates a willingness to utilise a wealth of sources, extramusical content, and to experiment and collaborate on project outcomes. Inspiration in part is drawn from composer Geörgy Ligeti, who sees the compositional process as a series of problems that emerge and need to be resolved. Thus, each musical form, though complete in itself, is conceptually in a constant state of flux and renewal. Some more recent concepts within this folio include the creating of a time-space (that is, prolonging the inevitable outcome of a musical idea); exploring apparent spectral and microtonal harmonies; severely constricting musical material; being inspired by extramusical content; producing information-saturated works and using jazz-inspired improvisatory techniques; borrowing from seemingly unrelated sources; and using electronic and recorded music in conjunction with live acoustic musicians. This folio of works and critical commentary presents eight compositions with a detailed analysis of my approach to each work and aesthetic viewpoint. It includes two works for orchestra, Ordynov and Creatures of Ezekiel (for large orchestra), a work for sextet entitled Descent, four chamber works (ein...atmen, generator, Wireless and re.saturate.d), and one work for solo violin and electronics, 101010001012(1012).

Through an innate desire to present works with an underlying musical philosophy and a mastery of technical phenomena, this folio of compositions and critical commentary is an attempt to present a progressive collection of my original music with an accompanying philosophical and analytical examination. Within the folio, there is experimentation, use of many external and seemingly unrelated sources, and the employment of specific modern techniques when the underlying philosophy demands it. The folio demonstrates a willingness to utilise a wealth of sources, extramusical content, and to experiment and collaborate on project outcomes. Inspiration in part is drawn from composer Geörgy Ligeti, who sees the compositional process as a series of problems that emerge and need to be resolved. Thus, each musical form, though complete in itself, is conceptually in a constant state of flux and renewal. Some more recent concepts within this folio include the creating of a time-space (that is, prolonging the inevitable outcome of a musical idea); exploring apparent spectral and microtonal harmonies; severely constricting musical material; being inspired by extramusical content; producing information-saturated works and using jazz-inspired improvisatory techniques; borrowing from seemingly unrelated sources; and using electronic and recorded music in conjunction with live acoustic musicians. This folio of works and critical commentary presents eight compositions with a detailed analysis of my approach to each work and aesthetic viewpoint. It includes two works for orchestra, Ordynov and Creatures of Ezekiel (for large orchestra), a work for sextet entitled Descent, four chamber works (ein...atmen, generator, Wireless and re.saturate.d), and one work for solo violin and electronics, 101010001012(1012).

À la croisée des études sur les processus créateurs en musique et sur l’interprétation (performance studies), la recherche interroge le rôle de l’interprète dans la création contemporaine. L’œuvre musicale est considérée selon quatre états (œuvre projetée, écrite, jouée et entendue) et selon les interactions intervenant dans le processus de création, particulièrement entre compositeur et interprète en situation de collaboration directe. L’étude de cas au centre de ce travail est la création d’une œuvre nouvelle avec le compositeur Gérard Pesson, Blanc mérité (d’après Roman Opalka) pour saxophone et ensemble, dont la genèse est documentée dans une perspective « auto-ethnographique ». Le processus, étalé sur sept années, génère une importante quantité de données dont le traitement et l’analyse impliquent le développement d’outils méthodologiques adaptés. Permettant de retracer l’origine et la place des interactions dans la genèse des objets constitutifs de l’œuvre, la recherche apporte des éclairages sur la dimension infralinguistique du travail et participe à la réflexion sur les enjeux de la création artistique dans sa dimension collaborative. / Drawing on studies focused on creative processes in music as well as performance, the research questions the performer’s role in contemporary creation. The creative process is considered here as evolutions of the musical work between four interconnected stages: work as project, work as score, work as sound production and work as sound perception, among which the nature of the interactions between actors evolves constantly.The main case study is the creation of a new work with composer Gérard Pesson. Blanc mérité (referring to Roman Opalka), for saxophone and ensemble, is observed and analysed by the dedicatee all along a seven years process. Adopting an “autoethnographic” point of view and a “naturalistic” approach, the research draws upon data collected since the project’s premises, by recording exhaustively the interactions between composer and performer. Quantitative and qualitative analysis methods are applied to the amount of verbal data, and crossed with musical analysis of the scores and recordings. Allowing to retrace origins of musical objects as well as interactions in their genesis, the research enlightens an “infralinguistic” dimension of the artistic work and therefore takes part in the reflection about creative collaboration.