This research project aims to discuss the interaction between my role as the guitarist per-former in the creative process while collaborating with non-guitarists composers. The mainquestion governing this research is to identify how collaboration between the composersand myself impacts the notation, interpretation and identity of the new musical work. Thisresearch approaches a rarely explored perspective: focusing on the collaboration betweencomposers that do not play the instrument they are writing for. It is equally important to benoted that the project involves a variety of musical genres, inviting composers from Brazil,Australia/Taiwan, and Greece. There are five case studies: four with non-guitarists compos-ers and one comparative case study with a guitarist composer. Composers involved in theproject are Sergio Assad (1952), Belle Chen (1988), Petros Klampanis (1981), Iason Marou-lis (1999), and John Panagiotou (1995). The findings are intended to broaden the under-standing of contemporary collaborative practices in the compositional process for the guitar.The research material (commissioned works) will not only extend the guitar repertoire intonew and exciting territories but will also test the technical possibilities of the instrument andoffer a range of solutions to problems. This project involves proactive collaboration at allstages of the creative process.This thesis documents, contextualises and illuminates the collaborative albums Roots</em>(Naxos International Records, 2021) and Antithesis </em>(pending publication). Roots </em>is availableon all online music platforms as well as in the Naxos Records catalogue. A link to the CDis available in appendix 10. Antithesis </em>is expected to be released by Naxos within 2025.