This thesis investigates the ghost works of Morton Subotnick and their contribution to the world of sound art and electronic music technologies. Subotnick\u27s work in this area is an integral part of his outstanding achievements, on which there is little collected research. The discussion focuses on the development of Subotnick\u27s designs and techniques that he applied to the construction of the ghost works. Through an exploration of earlier background details, it is shown that tape recording, voltage-controlled technologies, and the analog sequencer provided Subotnick with the means to follow his vision and begin creating music as studio art. An examination of these technologies and the creative manner in which he applied them reveal how Subotnick established a vehicle for his life\u27s work in the early sixties, from which he created notable electronic works. An assessment of Subotnick\u27s work from the early seventies shows that the composer\u27s methods progressed using a variety of compositional elements, including electronics and traditional acoustic orchestral instruments, the culmination of which resulted in the creation of the ghost compositions in the mid-seventies. The evaluation of these works reveals Subotnick\u27s aptitude with real-time analog signal processing and his standing as a significant American composer
