I would like to express gratitude to my supervisors who generously invested their time, energy, and endless patience while accompanying me through this long and not always simple journey: Marcel Cobussen and Richard Barrett. Many thanks also to Frans de Ruiter, for reading my work and providing useful advices. I would also like to acknowledge the encouragement of the late Bob Gilmore, who, although only involved in this project for a very short period, provided valuable advice that has continued to echo throughout the entire process. Many thanks to Mark Newby, who carefully read my texts and corrected my English.
Many thanks to all the musicians that have been collaborating with me, and without their skills, efforts, and generosity this research would not have been possible: Amnon Wolman and members of Musica Nova Consort (for commissioning and premiering hasara), MUTU ensemble, musicians of Spektra ensemble, Ezequiel Menalled and members of Ensemble Modelo62, Tomer Harari, Maya Felixbrodt, Roberto Garreton, Elisenda Pujals, Lula Romero, Luc Döbereiner, Agostino di Scipio, and Janco Verduin. Thank you Musica for hosting me during the Soundmine residency during which The Instrument was created, and thank you Volker Staub and Wim Henderickx for the interest in my work. Thanks you ECPNM (European Conference of Promoters of New Music) for selecting [Untitled, 2012] for the European Competition for Live Electronic Music Projects 2012.
Finally, I would like to thank my family and friends, who offered their endless support and encouragement during the writing process: Talia Shay, Daniel Ziblat, Yoel Ziblat-Shay, Elisenda Pujals, Anna Poletti, Frans van de Berg, Amir Vodka, and Gabrielle Daniels-Gombert.