The Ph.D. will comprise of two interrelated parts: • A 85 minute compositional portfolio which will be notated and recorded • An associated commentary/dissertation The intention of the commentary is to place my compositional portfolio in a theoretical and philosophical context with other ‘post 1970′s jazz electric guitarist composers (JEGC) who have assimilated the jazz aesthetic with other music forms’. This will be achieved by examining the evolution of the portfolio at three distinct levels: Inspiration, conception, and production. Throughout the document I will corroborate comparisons with JEGC whose influences, approaches and catalogue are cognate to my own, regarding these musicians not as technical practitioners, but as jazz composers, who have fused their primary influences with other genres of music. The task of defining what constitutes ‘the jazz aesthetic’, ‘other music forms’, and more importantly the mechanism through which they ‘assimilate’ is potentially speCUlative, precise detail being beyond the scope of the proposed commentary. When attempting to compare ‘early jazz’ to ‘classical music’, Schuller refers to a ‘hierarchy of values’ (Schuller, 1968, p.7-8).