The submission consists of a portfolio of compositions and essay: it essentially reflects one segment of a ‘continuum’ of a creative life, the term ‘continuum’ drawing on Marley and Wastell (2005) as discussed below. The process of composition of each of the pieces is discussed and technical descriptions are included for those that utilise electronic technology. The essay also includes key points of theory which informed the work: issues of categorisation and ‘experimental’ music, musical performance and reception being elements within ritual, utilisation of notation and application of technology. A central aim
of the research was to interrogate my own creative process at a particular stage within my creative life.A creative life is not easily compartmentalised, and the structure of the essay reflects this: rather than present the theory as a whole, followed by discussions of the compositions within the portfolio, the latter are integrated at various points during the essay. This approach also enables discussion of pieces other than the main compositions to be included, as well as extracts of reflection, thus acknowledging the importance of such elements within the narrative. The work presented here is not comprehensive in its scope,
however, as I was involved in many other music-making activities during the period, some of which are referred to in Appendix 1.