Part one. Aesthetic and technical aspects integral to the composition of Sonofusion: for Overtone Violin. Part two. Portfolio of compositions

Sonofusion: for Overtone Violin is an interactive audiovisual work for the Overtone Violin, a hyper-instrument that contains sensors to extend its playing surface beyond the instrumental body. In physics, the term sonofusion is another name for acoustic inertial confinement fusion (AICF), a process by which sound waves are used to fuse one substance into another. In AICF, bombardment of heavy water with sound waves creates high temperatures and densities that fuse hydrogen into helium, resulting in the release of significant heat or energy. Seth Putterman's patent for a sonofusion device describes the effect of his invention as "converting acoustic energy into useful other energy forms" [Putterman 1997]. Sonofusion: for Overtone Violin poetically approaches the sonofusion phenomenon through the conversion of sound, musical gesture, and generative musical processes into moving images and three-dimensional virtual space. The Overtone Violin is a six-string violin outfitted with embedded sensors that act as gestural controllers [Overholt 2005]. Using data from the embedded sensors, the violinist has the ability to control five virtual spaces constructed in a connected infrastructure. These virtual spaces are audiovisual and are projected visually on a screen behind the performer and aurally through loudspeakers on stage. Few compositions have been written for the Overtone Violin, and these are only partially notated [Overholt 2005] and rely heavily upon improvisation. This work is the first to explore the multimedia potential of the Overtone Violin in the composition of an audiovisual work. Additionally, the composition is largely deterministic and develops a notational system for the instrument. This dissertation begins by tracing an aesthetic lineage, focusing on works that combine audio and visual media using a common basis. Three works by the author, which serve as precursors to Sonofusion, are discussed. Techniques for constructing performative interactive audiovisual works are examined. Finally, a software model for audiovisual composition using Open Sound Control communication between Supercollider3 and Max/MPS/Jitter is described.;Part Two. A portfolio of compositions is presented, including Sonofusion: for Overtone Violin, two acoustic works, an interactive work for percussion and electronics, and four electro-acoustic works.*;*This dissertation is a compound document (contains both a paper copy and a CD as part of the dissertation). The CD requires the following system requirements: Windows MediaPlayer.