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This paper is a descriptive study of the creation of a new work that used practicebased and practice-led methodology, birdsong, electro-acoustics and philosophical argument to explore the theories of becoming as representative of the concept of _bring forth_ new truth. The composition which was the focus of the study employed electro-acoustics, live performance and Malaysian avian motifs. Electro-acoustics: to create an accompanying soundscape of bird-calls, and to manipulate particular calls in interplay with the live performer; Live performance with two extra dimensions: extended flute techniques and the application of digital signal processing to create a _more-than-flute_ timbre. The Malaysian avian songs were transcribed into common notation to derive motif material from which some of the melodic, harmonic and rhythmic elements of the composition were created. Based on the case study, it will be argued that the becoming (coming into being) notion of process-relational philosophy v.....

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This paper is a descriptive study of the creation of a new work that used practice-based and practice-led methodology, chance, indeterminacy, Malaysian folksong, Hindustani Raga, birdsong and philosophy to guide its creation, its coming into being and its performance realization. The paper also addresses the main problem encountered in its creation, which was how to maintain form whilst using indeterminacy. The composition which was the focus of the study employed indeterminacy and chance in the approximation of the performance realisations and interpretations of the notation. Each of the four main elements of the composition was created separately and incorporated a mode of limited transposition, Hindustani Raga, Kalimantan folktune and Malaysian avian motifs. In the context of the emphasis of the John Cage 101 International Conference, the composition attempted to explore concepts of space and time, chance and indeterminacy and the Cagean notion that _There is no such thing as an emp.....

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