UC San Diego

This dissertation aims to unravel some of the mysteries surrounding my recent compositional practice by investigating my entire creative philosophy and supporting it with evidence from an in-depth analysis of three recent solo pieces with regard to both musical materials and working processes. The overall structure of this study takes the form of seven chapters and will begin by establishing the precise philosophical scope of this research through personal assertions and responses to pertinent theories. The second chapter focuses on incorporating embodied experience into this discourse and defining my personal positions within the space of creation. The third chapter will discuss the methodology employed in this study, with a particular emphasis on the theatricality of the performance format along with the heterogeneous nature of both sound objects and the collaborative process. In chapters four to six I will present as case studies, three of my recent solo pieces: Bridge - for solo flute, Rough Shell - for solo bass, and PUPA - for solo percussion. Doing this serves the dual purpose of presenting the three solo pieces, and establishing the validity of previously explained theories. Finally, the conclusion summarizes my relevant ideas on composition and collaboration, while also discussing areas for future research in the area of solo musical compositions. This discussion will be informed by my experiences with these three collaborative projects, and I will also provide suggestions for resolving some specific compositional predicaments which I have encountered.