Rough outline.

-Elevator Pitch: English language as method of electronic musical composition

-Precedents: Musique Concrete as originated by Pierre Schaeffer

-Process:

Timbre: Layer 1--waveforms based upon ASCII
Layer 2--Found Sounds literally representing word etymology

Pitch:etymologies placed into different categories representing specific notes; words averaged into single notes through sentences; final key determined by average etymological contexts

Tempo:Lengths of sentences

Note length: Number of syllables/length of words

Envelope/Velocity: Use of consonants, vowels

-Initial Prototype: transcript of paragraph into musical composition

Updates.

-Thesis Statement: alternate uses of text in electronic musical expression: How language itself can be converted into music

-consonants and vowels determine envelope, velocity
-syllable-count as note duration
-http://www.ubu.com/papers/bessa01.html Ubuweb: In Search of the Originative Poetics of Concrete Poetry
-http://www.johncage.info/workscage/worklist/ronsenmus.html Lists and descriptions of John Cage Compositions throughout his lifetime
-http://www.itcfonts.com/Ulc/2711/A.htm the origins of letterforms
-http://en.wikipedia.org/wiki/Acrophonic the method used to build the modern Roman alphabet and the NATO Phonetic Alphabet; symbols associated with words that have similar sounds

-http://www.etymonline.com/ Etymological dictionary with a respectable collection of printed sources
-The word sounds themselves could be collections of actual sounds based upon their etymolology layered over ASCII waveforms: a contrast between their digital representation and their non-digital origins

-Tempo determined by lengths of sentences; pitch of each sentence effected by the average of etymological contexts, pitch further effected by the average of etymological contexts in a paragraph--subject can be conceivably determined by listening for the sounds themselves

-synaesthesia method being done away with; too subjective and complicated