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        <datestamp>2025-10-01T15:47:20Z</datestamp>
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          <dc:title>Portfolio of Original Electroacoustic Compositions - PhD Thesis</dc:title>
          <dc:creator>Ryan Woods (22337734)</dc:creator>
          <dc:subject>Music composition and improvisation</dc:subject>
          <dc:subject>Musicology and ethnomusicology</dc:subject>
          <dc:subject>Music technology and recording</dc:subject>
          <dc:subject>Soundscape Composition</dc:subject>
          <dc:subject>Acoustic Ecology</dc:subject>
          <dc:subject>Collaborative Anthropology</dc:subject>
          <dc:subject>Electroacoustic Composition</dc:subject>
          <dc:description>&lt;p dir="ltr"&gt;This Portfolio of electroacoustic compositions comprises 6 works that combined soundscape composition practice with anthropological methodologies to create collaborative soundscape compositions. This work realises the need for a diversity of practitioners and mindsets in soundscape composition and turns to a lineage of ethnographic disciplines as a premise for methodological tools that might be used in practicing soundscape composition ethically with people. The soundscape compositions take the form of autoethnography, duoethnogarphy and collaborative ethnography.&lt;/p&gt;&lt;p dir="ltr"&gt;The pieces are presented here chronologically in relation to the three projects they emerged from: Green spaces in South Manchester (&lt;i&gt;Reflections on A Secret Garden&lt;/i&gt;, &lt;i&gt;The Warmth of Other Suns&lt;/i&gt;, &lt;i&gt;If We Could Hear&lt;/i&gt;), Child-Tree Relations in Moss Side (&lt;i&gt;A Grove of Children&lt;/i&gt;), and Zimbabwe-Leicester Migrations (&lt;i&gt;Unganidza Mutundu&lt;/i&gt;, &lt;i&gt;Tauya: we have arrived&lt;/i&gt;). The accompanying commentary explains the overall ethos as well as the context, theory and analysis for each individual piece.&lt;/p&gt;</dc:description>
          <dc:date>2025-10-01T15:47:20Z</dc:date>
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