This thesis explores the concept of linearity in music composition and performance, aiming to investigate how a reduction of harmonic elements can influence musical narrative, expression, and perception. Through the creation and performance of original compositions, I examined how focusing on the structure of melody and rhythm – rather than traditional harmonic progression – affects both the compositional process and the resulting musical experience. The project draws inspiration from minimalist and serialist traditions, as well as historical monophonic practices, to develop a contemporary approach to linear musical thinking. Key questions include how linear composition alters my creative process compared to traditional harmonic writing, and how linearity can be concretely defined and manifested in practice. The results, presented in a concert setting, suggest that working linearly opens new dimensions of expressiveness and challenges conventional expectations of musical progression. However, it also demands a heightened sensitivity to dynamics, timbre, and texture from both composer and performer. This project highlights the artistic potential of linearity as a tool for reimagining musical storytelling and suggests avenues for further exploration beyond the boundaries of harmonic tradition.