The following text serves to accompany a body of practical work in music (composing) and mark-making. The two elements, when taken together, are an illustration of the role which certain types of fieldwork developed by the author may offer the composer if adopted into the process of acoustic invention. The introduction sets forth the conditions in which such an approach to the relationship between the natural, the sonic and the visual becomes relevant and important. Ideas of interconnectivity are introduced and terms are defined. Chapter two deals with the ideas of connecting patterns and sets of relationships in more detail, exploring the concepts of implicate order and recurring natural patterns. In chapter three we enter into discussion of fieldwork as a practice, encompassing theory and practical application. Chapters four to seven concern themselves with the analysis of the compositions borne of the fieldwork in question, and enter into more detail about any fieldwork specific to the pieces themselves. The relationships between the pages of sketches and the written music is considered here from the musical point of view. Finally, chapter eight acts as a brief conclusion to the study, in which we not only consider the results of the application of the fieldwork practice but also seek to identify which paths the continuation of this practice would benefit from and where we might take this work in the future.

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