This practice-led research contributes to the field of interactive dance and spatial sound performance. The document describes a research journey into ways that emphasize the sonic spatiality in dance choreography by creating a range of ChoreoSonic experiments and compositions that succeed from the spatial perspectives of both disciplines. The project explores an active interrelationship between ambisonic surround sound design and contemporary improvised dance through the technological areas of wireless electronic tracking systems and computer programming. The research process incorporates discussions covering developments in interactive art performances including references from the field of spatial sound composition, dance, interactive technologies and computer mapping. Alongside these theoretical investigations, an original Three Dimensional Data Interpreting Methodology (3DIM) is presented as an artistic spatial mapping strategy in order to achieve an aesthetic conceptualization within the domain of visual and auditory interactive performance. The different parameters of 3DIM are sorted into four main categories: raw movement input data from the tracking system, deduced (algorithmic) spatial movement parameters, sonic output and sonic spatiality. Each of these categories consists of the relevant spatial movement or sonic parameters and is accompanied by a graphic of the implementation in the 3DIM software. The 3DIM has been designed in the visual programming environment Max/MSP/Jitter, and has been developed and tested in a range of practical interactive 'Sound Skeleton' research experiments and compositions. The resulting interactive ChoreoSonic performance environment enables dance movements in space to be transformed into real time 3D spatial sound composition. The written thesis also includes video extracts of the 'Sound Skeleton' creations and documentation of the 3DIM Max/MSP/Jitter software, with accompanying manual and supporting text.