In this thesis, I combine my passion for baton twirling choreography, improvisation, and performance with my passion for theatre lighting and sound design technology. I developed a performance system centered around a baton which has been augmented with sensors, capturing its movements; these sensors send data via WiFi to a computer connected to a lighting network and a generative sound composition software, changing music and theatrical lighting looks based on the real-time movements of the baton. To demonstrate my work, I design and present a public performance to showcase the capabilities of the baton. Future work includes creating a flexible, scalable version of the system to be portable for multiple venues and to include more advanced lighting responses such as controlling motorized, moving lights, and collaborating with audio and media artists to generate more performances with different sound and media.

Computer-based auditory training programs (CBATPs) are used as an at-home aural rehabilitation solution in individuals with hearing impairment, most commonly in recipients of cochlear implants or hearing aids. However, recent advancements in spatial audio and immersive gameplay have not seen inclusion in these programs. Isle Aliquo, a virtual-reality CBATP, is designed to reformat traditional rehabilitation exercises into virtual 3D space. The program explores how the aural exercise outcomes of detection, discrimination, direction, and identification can be improved with the incorporation of directional spatial audio, as well as how the experience can be made more engaging to improve adherence to training routines. Fundamentals of professional aural rehabilitation and current CBATP design inform the structure of the exercise modules found in Isle Aliquo.

In this paper, I propose that taking an embodied approach to music performance can allow for better gestural control over the live sound produced and greater connection between the performer and their audience. I examine the many possibilities of live electronic manipulation of the voice such as those employed by past and current vocalists who specialize in live electronic sound manipulation and improvisation. Through extensive research and instrument design, I have sought to produce something that will benefit me in my performances as a vocalist and help me step out from the boundaries of traditional music performance. I will discuss the techniques used for the creation of my gestural instrument through the lens of my experiences as a performer using these tools. I believe that, through use of movement and gesture in the creation and control of sound, it is more than possible to step away from conventional ideas of live vocal performance and create something new and unique, especially through the inclusion of improvisation.