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Music in Virtual Reality: Musical Immersivity and Interactivity


Volume I

This dissertation will explore virtual reality (VR) as a “spatialized”

environment for artistic expression and creation, focusing particularly on the composer’s creative process when working with it. VR environments are already expanding and reformulating the concept of immersivity and interaction, as those


terms have been understood to date. The motivations and goals of the creative impulse responsible for generating works of art will be considered not only from the perspective of composition but also as an underlying force common in artistic expression—a reflection of the need to communicate between individuals at a deep abstract level.

VR provides a new space, analogous to the physical world, but with the potential to become more flexible and adaptable to the purposes of the composer or artist, and to theoretically present the opportunity to recreate what the artist mentally imagined more faithfully. Beyond a space, VR is also a communication and artistic medium still in the process of developing a unique aesthetic identity.

Volume II

The second volume of this dissertation consists of two works, Meeting and

Hillary, each conceived since their inception to have concert hall performance and VR version. Hillary has a version which is a combination of acoustic and electronics. Meeting has both acoustic and spatialized electronic concert hall versions. Whereas the concert hall format has been premiered in both cases, their VR versions are projected here though a description according to the format presented at the end of chapter 4 of volume I. These descriptions follow the score for each piece.

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