This portfolio consists of electroacoustic compositions which were primarily realised
through the use of corporeally informed compositional practices. The manner in which a
composer interacts with the compositional tools and musical materials at their disposal
is a defining factor in the creation of musical works. Although the use of computers in
the practice of electroacoustic composition has extended the range of sonic possibilities
afforded to composers, it has also had a negative impact on the level of physical interaction
that composers have with these musical materials. This thesis is an investigation
into the use of mediation technologies with the aim of circumventing issues relating to
the physical performance of electroacoustic music.
This line of inquiry has led me to experiment with embedded computers, wearable
technologies, and a range of various sensors. The specific tools that were used in the
creation of the pieces within this portfolio are examined in detail within this thesis. I also
provide commentaries and analysis of the eleven electroacoustic works which comprise
this portfolio, describing the thought processes that led to their inception, the materials
used in their creation, and the tools and techniques that I employed throughout the
compositional process
