This thesis is a portfolio of work completed during my Master’s study at the University of California, San Diego. Included in this portfolio are three papers, written as part of my coursework, and three original compositions.

This dissertation discusses my concert-installation spaces, between in relation to thresholds, embodiment and cross-sensory perception. I draw on the work of Arnold Van Gennep and Victor Turner’s discussions of liminality as the basis for a consideration of the role of thresholds, brought about through processes of transition, in the musical, visual and spatialcomponents of the work. I examine theories of embodiment in the work of Maurice Merleau-Ponty, Iris Marion Young and Judith Butler to propose a theory of individual embodiment as the basis for spaces, between. I explore the potential for cross-sensory correspondences in the context of embodied perception, and consider how grounding the experience of a live instrumental performance in individual embodiment separates the concert-installation from the broader Western concert tradition.