Little or no development of a contextual and compositional language exists to understand syncretic compositon. Musicologist Christian Utz writes: Research on encounters between traditional non-western music and contemporary compositional practice tends to neglect detailed musical analysis in favour of extensive socio-cultural or political frameworks In response Afro No-Clash develops four analytical frameworks including an Interpretive Codes framework. These identify types of culturally-based appeal to which each musical technical element is related. The frameworks extend the cultural interpretations of Keil and Feld (1994), and semiotic work by Nattiez (1990) and Molino (1990) and integrate these technical metatheory work by Borthwick (1995). The interpretive codes framework enables the unpacking of essential contextual, cultural and technical information related to cross-cultural compositions representative of a wider approach to syncretism than has been available in the literature to date. The album, Afro No-Clash, (190406) contains eleven compositions which explore the distinct types of syncretism identified in the analytical frameworks and demonstrate the results of using the frameworks in compositional invention and decision making. They explore modes of integrating western and African musical techniques including ostinati in unusual periodicities, hocketing, polyrhythms and antiphony. A significant contribution to the research is its the capacity to communicate to Western and Africanist audiences. Album selections have been performed in concerts such as The Brisbane Festival 2004, and The Judith Wright Centre 2005. They are broadcast regularly on ABC Classic FM. Recently the creator has been invited to submit an article to the Japan Institute of Rhythm Journal in 2010.