UC San Diego

This dissertation consists of an account of my processes in creating Impermanence, a modular work for flute, clarinet, piano, percussion, violin, violoncello, toy instruments, unconventional objects, electronic sounds and “wearable” portable speakers. Impermanence can be both a piece in three movements, or three stand-alone pieces: Mestiça, a solo piece for piano; Uprooted, a multi-channel electroacoustic fixed media piece (with or without live performers); and Permanent Alien (and native friends), for ensemble. The first chapter addresses issues related to corporeality, physicality, and collaborative works. The second chapter focuses on electroacoustic music, movement, sound spatialization, and the use of portable “wearable”speakers. It also elaborates on the use of alternative objects and toys as musical instruments. The last chapter discusses strategies to overcome aesthetic limitations related to the socioeconomic reality of ensembles and orchestras, analyses the incorporation of pre-existing music from other artists into an original work, and explores the use of musical tropes and metaphors as a communicative tool.