Esta pesquisa abre uma trajetória de leitura a partir de André Gide, centrando-se majoritariamente em dois de seus livros: Les Faux-monnayeurs, o único romance do autor, e Ainsi soit-il ou les jeux sont faits, livro de memórias e uma de suas últimas publicações em vida. A questão que guia a trajetória de leitura é primeiramente a escuta, de modo a entrelaçar o ensaio de Jean Luc-Nancy, À lécoute, o livro de Philippe Lacoue-Labarthe, Lécho du sujet e o texto de Jean Starobinski, La relation critique. Esse tecido teórico ajuda a investigar mais a fundo as seguintes perguntas: o que significa escutar um texto? Que implicações a escuta carrega para a crítica? Que tipo de fronteiras e divisões esse gesto é capaz de desfazer ou de reorganizar? Guiar-se pela escuta é possível segundo os pressupostos de escrita de uma tese acadêmica? Tais perguntas desencadeiam uma série de experimentos de leitura e escrita que diluem a nítida separação entre sujeito e objeto em meu texto, fazendo com que eu, como leitora, também me implique na narrativa a ser construída pela tese e dê a ver as experiências que funcionam como suas condições de enunciação (como, por exemplo, a discotecagem). Essa trajetória me conduzirá por fim às potenciais implicações políticas desse gesto por assim dizer experimental no interior da tese de doutorado. / This research opens a reading path based on André Gide, focused majorly on two of his books: Les Faux-monnayeurs, his only novel, and Ainsi soit-il ou les jeux sont faits, a memoir and one of his last publications in life. The main issue which guides this reading path is, first of all, listening itself, in a way to entwine Jean Luc-Nancys À lécoute, Philippe Lacoue- Labarthes Lécho du sujet, and Jean Starobinskis La relation critique. This theoretical tissue supports a deeper investigation around these questions: what does it mean to listen to a text? What implications listening conveys to critics? What kind of borders and divisions is this gesture capable of undoing or reorganizing? Is it possible to guide oneself through listening according to writing assumptions inside an academic thesis? These questions triggers a series of both reading and writing experiments that dilutes clear separations between subject and object in my text, enabling myself, as a reader, to enter this thesis narrative and manifest experiences that work as its utterance conditions (for example, DJing). This path ultimately guides me into potential political implications of the so to speak experimental gesture within this thesis.

Cette thèse porte un regard sur les musiques improvisées et leur rapport à la scène à travers mon expérience et celle de treize personnalités du milieu des arts avec qui j’ai eu des entretiens privilégiés. L’essence de cette démarche est d’observer comment les créateurs utilisent l’improvisation en situation de concert ou simplement comme méthode de recherche grâce aux outils numériques ou analogiques. Ce panorama me permet de mettre en perspective mon travail de composition et de recherche à une époque où, comme créateur, j’ai bifurqué vers les musiques numériques après de longues années d’écriture et de performance scénique dans le milieu du jazz et des musiques d’improvisation. Au passage se problématise la causalité du geste lors de la performance avec des outils numériques. La thèse retrace tout d’abord un parcours sommaire de la musique improvisée – plus particulièrement celle que l’on appelle la musique actuelle au Québec ou encore lafree improvisation. À travers ce survol seront soulevées quelques questions de nomenclature et d’esthétique afin de mieux cerner les enjeux propres à cette pratique. La réflexion se poursuit avec des entretiens à travers lesquels j’explore la comprovisation, le DJing, les instruments de musique numérique, la danse et la composition. La réflexion culmine autour de cinq de mes œuvres écrites en collaboration avec les milieux de la musique improvisée et de la danse. / This thesis looks at improvised music and its relationship to the stage through my experience and that of thirteen personalities from the arts world with whom I have had privileged interviews. The essence of this approach is to observe how creators use improvisation in concert situations or simply as a research method using digital or analog tools. This panorama allows me to put my composition and research work in perspective at a time when, as a creator, I have turned towards digital music after many years of writing and stage performance in the field of jazz and improvisational music. In passing, the causality of the gesture during performance with digital tools is problematic. The thesis first retraces a brief journey through improvised music - more particularly what is called musique actuelle or free improvisation. Through this overview, a few questions of nomenclature and aesthetics will be raised in order to better understand the issues specific to this music. The reflection continues with interviews through which I explore comprovisation, DJing, digital musical instruments, dance and composition. The reflection culminates around five of my works written in collaboration with the improvised music and dance communities.

This piece of work was meant to be countinuous to my bachelor's thesis. In that essay I was dealing with the history of Czech electronic dance music in general. This time I focused just on Prague and surrounding area. The Czech capital was deeply influenced by presence of tourists. After the Velvet revolution, they were suddenly able to visit Prague. And as they they were already familiar with electronic music, they could help to spread it here. The situation in Prague is also compared with the rest of the world (western civilization). In the first part of the essay, I describe the qualitative research and the method I have used, which is the oral history. I also enclose a brief vocabulary of frequently used terms that are not very well known to the greater audience, I suppose. The last part is the analysis of the interviews itself. The interviews were done with important narrators.