This thesis concerns the application of psychoacoustic phenomena relating to the non-linear nature of the inner ear as an electroacoustic compositional tool. The compositions included in this portfolio explore the validity of a variety of non-linear inner ear phenomena within composition by employing them as primary compositional devices. Psychoacoustics research into the non-linearities of the inner ear has proven that the inner ear has much more to offer the composer than has been previously considered. By reversing the role of the ear from, what Christopher Haworth describes as, 'being a submissive receiver',13 to becoming an active participant in the creative process, an exciting level of opportunity opens up for both the composer and listener. A focus is given in this research to auditory distortion products and bandwidth phenomena with references to the author's own compositional material. While it is relatively common for composers to have explored various elements of psychoacoustics in their work, a project of this size, which explicitly explores such material, has not been carried out until now. The work of Maryanne Amacher, Alvin Lucier, Diana Deutsch, and others has highlighted the possibilities of employing psychoacoustic principles in music. This research takes a new approach by placing a direct focus on the benefits of the utilisation of these non-linear mechanisms of the inner ear for the composer, while also positing a number of new creative methodologies with respect to the non-linearities of the inner ear.