This thesis presents a portfolio of original compositions. The pieces, which comprise both instrumental and electronic forces, examine compositional and theoretical approaches to the embodied structures that underpin music performance. The portfolio includes eight scores, nine original compositions in total. The works are discussed in the context of prevailing theories and practices relating to music and meaning, music and time and music notation. Inconsistencies between theory and practice will be explored and, where one exceeds notional boundaries set by the other, amendments suggested. The common thread that runs throughout this thesis is that our capacity to create, reason about, and notate music is deeply rooted in the body's interactions with the world. Endeavouring to understand the embodied origins. of music will advance the cause of both theorist and practitioner.