John Samuel Greenwood is a sonic artist and published author working out of Limerick Ireland, He is an independent researcher and an aficionado in aesthetic and technical aspects of sound design and composition. His research which has developed from a long engagement with electronic music and an affinity with non-musical expressive forms focuses on the role of narrative through gesture in the compositional process. Since 2006 his compositional practice employed gesture in both a physical and metaphorical manner, manifesting itself clearly in both his acousmatic works and his works for screen and dance. Building on these experiences, his PhD explored the compositional possibilities of physicality, gesture and narrative as a core aspects of communication in music and in particular his own sonic art. His Ph.D describes a compositional process that is homogeneous to LaMothe’s four modes of organising experience: corporeal-contiguous, taxonomic-object, symbolic-subjective and narrative-communal (LaMothe 2005). It begins with the composer’s subjective experience of hearing, rooted in the relationship of a particular human body to its physical neighbourhood (LaMothe’s corporeal-contiguous modes). The human body is used as a benchmark for measuring and apprehending the world (Benthall and Polhemus 1975). The thinking body conceptualises the claim that sensation, motor functions and cognition are distributed functions of the body, in a complex interrelationship with the mind (Baily 2006). In his work sonic objects (LaMothe’s taxonomic-object modes) are interpreted as gestural sonictokens, these being the smallest meaningful units of gestural information in a sound sequence. These act as signs from which metaphor can be derived, based on the composers interpretations of the meaning of the gestural sonic tokens in the context of the composition (LaMothe’s symbolic-subjective modes). This process creates a ‘sonic signscape’, a sign system in which the signifier is the gestural sonic token and the signified is the imagined sound source. When used by the composer as foretokens, such signifiers build sequential structured relationships that form a sonic narrative. In his research the term ‘sonarrative’ is used to describe such a sonic account of contiguous and contrapuntal events that create a coherent whole – a composition. The creative process incorporates physicality, sign, metaphor and narrative to organise a meaningful sonic experience for the listener by way of sonarratives (LaMothe’s narrative-communal modes). In order to ground this theoretical framework, the concepts are applied to a body of compositional work completed by this author between 2008 and 2011. Both the complete thesis and the examples of the body of work can be found on this website. His PhD was supervised by Dr Kerry Hagan and Mr Jürgen Simpson and was successfully examined by Professor Robert Normandeau (Faculté de musique, Université de Montréal) and Dr Robert Sazdov (University Limerick) in October 2011.