Acknowledgements
I would like to thank my primary composition teachers Yannis Kyriakides and Mayke Nas, as well as my additional tutors Richard Barrett and Peter Adriaansz, for their guidance, advice, and friendship during my time at the Royal Conservatory and while I wrote this research — thank you for always giving me the space to talk, search, and find my way.
Thank you to my former teacher and now friend Krzysztof Wołek, for pushing me to move to The Hague and continuing to support my growth as I’ve continued my studies.
To my parents, sister, and grandmother; my partner, Amy; and my closest friends: Thank you for being on my side and being my support system as I took the huge leap of moving to a country I had never set foot in (during a pandemic, no less). To my colleagues at the Royal Conservatory, thank you for accepting me, challenging me, and having patience when I complain too much. Any success I have had, I owe fully to my support system.
To Sarah Dean and Amy Zuidema, I offer my deepest gratitude for their critical eyes and assistance in editing this paper’s content.
Perhaps most importantly, I’d like to recognise the assistance of the musicians whose collaborations contributed so much to this work and research: Pala Garcia, John Popham, Vicky Chow, Shawn Jaeger, Inês Lopes, Daniel Martins, Gonçalo Martins, Teresa Costa, Diederik Smulders, Ledah Finck, Lena Vidulich, Erin Murphy Snedecor, Philip Snyder, Constance Volk, Hanna Hurwitz, Ammie Brod, Juan Horie, Laura Barger, Kathryn Sloat, João Brito, João Borralho, Ludovica Ballerino, Maria de la Calle.
Finally, this research is dedicated to my late grandfather, Bob Bradley. I may not always believe in myself, but his belief in me never wavered, and I carry that with me every day.

 Preface

This paper is concerned with the implication of interacting with placemaking within an artistic practice, and specifically its impact when integrated as the basis of a comprehensive compositional process. It will establish a philosophical basis for the concept of “sonic placemaking” — informed by both geographical and anthropological theorists and multidisciplinary artists alike — which will lay a framework for the intertwining of placemaking and soundmaking in acoustic, electronic, and multimedia artworks. This framework and its practical and conceptual applications will then be explored in-depth by way of four case studies of my own music-making.

I am a composer and improviser engaging in acoustic, electronic, and multidisciplinary forms of soundmaking, but most importantly I am a collaborator. The music discussed in this paper is first and foremost concerned with the ways in which individual composition practice can become a collaborative effort to engage in making place. The compositional process which I outline relies significantly on inclusion and partnership in the creative process, and the normative hierarchy which separates “composers'' and “performers” is challenged at every opportunity; each of the pieces which I use as examples in this paper engage, in their own ways, in soundmaking as a process which is incomplete without some level of creative inclusivity which tests these roles.