As an adjunct discipline, my work as a composer for theatre is contingent on, and preoccupied with, its relationships to other elements of a larger totality, including, for example, the institutional, acoustic and dramaturgical territories in which the work takes place, as well as the pragmatic demands of cross-disciplinary performance-making. Assuming that context is deterministic of both creative choice and audience reception, my project asks how an engagement with context allows for the active construction of the listening experience. The portfolio consists of a musical, A Pacifist's Guide to the War on Cancer (2016); a dance and music collaboration, Clubbing (2015); a video installation, Binary Code (2017); and other supplementary pieces in which context is treated as compositional material. The generic dissimilarity of the pieces in the portfolio allows for a methodological approach that is narrow in focus yet not restricted to a particular compositional style, mediation or kind of audience engagement. With specific focus on its effects on the voice and on collaboration, what does this expanded conception of musical material offer the composer and what are its limits? How might this differ from other expanded musical practices that are addressing similar concerns?