Table of Contents

 

• Abstract
• Acknowledgments
• List of Portfolio Compositions
• 1. Introduction
• 2. S.O.A.P.
  • 2.1. Objects
  • 2.2. Agency
  • 2.3. Place and Space
  • 2.4. Digital and Performance Spaces
  • 2.5. Why S.O.A.P.?
  • 2.6. The Implied Listener
  • 2.7. Linearity in S.O.A.P.
  • 2.8. Simplicity is Key
  • 2.9. The Purpose of S.O.A.P.
• 3. S.O.A.P. in Practice
  • 3.1 Lines (2017-18)
    • 3.1.1. Programme Note
    • 3.1.2. S.O.A.P. Analysis
    • 3.1.3. The Effect of the Analysis
  • 3.2 Sounds of the Silent City (2017)
    • 3.2.1. Programme Note
    • 3.2.2. S.O.A.P. Analysis
    • 3.2.3. The Effect of the Analysis
  • 3.3 Bearing Zero (2018)
    • 3.3.1. Programme Note
    • 3.3.2. S.O.A.P. Analysis
    • 3.3.3. The Effect of the Analysis
  • 3.4 57N (2018)
    • 3.4.1. Programme Note
    • 3.4.2. S.O.A.P. Analysis
    • 3.4.3. The Effect of the Analysis
  • 3.5 In(Habit) Space (2019)
    • 3.5.1. Programme Note
    • 3.5.2. S.O.A.P. Analysis
    • 3.5.3. The Effect of the Analysis
  • 3.6 Abstractions (2019)
    • 3.6.1. Programme Note
    • 3.6.2. S.O.A.P. Analysis
    • 3.6.3. The Effect of the Analysis
  • 3.7 YinYang (2019-20)
    • 3.7.1. Programme Note
    • 3.7.2. S.O.A.P. Analysis
    • 3.7.3. The Effect of the Analysis
• 4. End Matter
• Appendices
• Bibliography