Abstract The study explores various compositional techniques in John Cage¡¦s "Sonatas and Interludes for Prepared Piano." In the music not only does the composer develop his individual styles, but also uses traditional idioms. In this composition, Cage displays different methods that are used to create a sense of indeterminacy. His use of time proportion, form and Micro-Macrocosmic Structure in the work breaks away from tradition idioms. This technique of composition reflects important characteristic in Cage¡¦s oeuvre. Thus, Cage holds the important status in the piano and in the history of Western music. The thesis consists of four chapters: Chapter one provides an overview of the American social movements in relation to the music of twentieth-century, investigating the influences on Cage¡¦s compositions. Chapter two deals with works in different stages, discussing the characteristics and related process in the works. Chapter three provides a detail analysis of "Sonatas and Interludes for Prepared Piano." Chapter four summarizes the findings of this research.

This thesis is structured around three key phases in the process of collaborative music-making - composition, preparation, and performance - examining the function of indeterminacy at each stage, and the way in which musical factors are determined. At what point in the creative process a musical decision is made, the path chosen, and critically, by whom the decision is taken, are all explored in the context of a portfolio of pieces performed and recorded as part of this practice-led research. The portfolio comprises recordings of projects undertaken with composers, as well as pre-existing repertoire, and the written commentary explores my creative role as a performer in relation to that of the composers and the other performers I have worked with. Practical issues faced in collaboration, practice, and performance are dealt with, as are questions of musicality, and the notion of success in musical performance.

CARVALHO, Mayara Pinho de. O sujeito como operador de uma indeterminação: dialética, psicanálise e ato educativo. 2015. 117f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Educação Brasileira, Fortaleza (CE), 2015. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2016-04-25T11:30:46Z No. of bitstreams: 1 2015_dis_mpcarvalho.pdf: 827996 bytes, checksum: 6d2c1e944b3c1d9e2a2cc09dab12498e (MD5) / Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2016-04-26T14:45:44Z (GMT) No. of bitstreams: 1 2015_dis_mpcarvalho.pdf: 827996 bytes, checksum: 6d2c1e944b3c1d9e2a2cc09dab12498e (MD5) / Made available in DSpace on 2016-04-26T14:45:44Z (GMT). No. of bitstreams: 1 2015_dis_mpcarvalho.pdf: 827996 bytes, checksum: 6d2c1e944b3c1d9e2a2cc09dab12498e (MD5) Previous issue date: 2015 / The experience of modernity enables a comprehension of the subject based on regularities on the way of being, acting, judging and so on. There is a normativity that regulates social life, and the subject exists as this possibility of setting up its own field of experience. A theory of the subject, from this perspective, corresponds to an understanding that the human founds his ground of experience as a process of unity and self-identity, lying there the core of normativity that organizes social life. Criticising the category of the subject corresponds to grounding a theorisation that is not compromised with identitary modes of determination of the subject, but that understands how the field of experience structures itself through events from a negativity. In Žižek, we can find the problem of the subject as the main core of his thought, but he operates an inversion from the tradition that contains a fundamental passage from a metaphysics of identity to a negative ontology. This way, the main problem of this paper is to develop alternatives in relation to a theory of the subject committed with the idea of human finitude, chained to an identitary principle: thinking the ways of comprehending the humane beyond representation. In opposition to a philosophy of identity, Žižek’s work has been directed on the problem of excess/lack in the order of being, and it is through the relation between German idealism and psychoanalysis that he developed his reflections. This perspective opens a fundamental political field, because the power of dismission of structural modes of subjetivation guards the possibility of new modes of subjectivation. Thus, the subject is the one who carries the transcendental condition of possibility and impossibility of the ways of being. A politics aiming at emancipation must break with the comprehension of man based on identitary figures. In face of these problemes, it is necessary to establish an humanity freed from the category of the “human”, that allows new political arrangements. The “inhuman”, then, would be precisely this dimension of the impersonal and depersonalized, that which cannot be singled out through the recognition of individual psychological processes. Thus, the critical pedagogical-political act institutes its own legality, suspending the Law of the prevailing oppressive power, opening up spaces for creativity and the establishment of a process of socioeconomic, cultural and political emancipation. / A modernidade possibilita uma compreensão da experiência do sujeito a partir de regularidades dos modos de ser, agir, julgar etc. Há uma normatividade que regula a vida social, e o sujeito existe enquanto essa possibilidade de fundar seu próprio campo de experiência. Uma teoria do sujeito, a partir dessa perspectiva, corresponde a uma elaboração do modo como o humano funda seu lugar enquanto processo de unidade e autoidentidade, estando aí o cerne de normatividade que organiza a vida social. Diante desse problema, criticar a categoria de sujeito corresponde a fundamentar uma teorização que não se comprometa com modos de determinação identitária do sujeito, mas que compreenda como o campo de experiência se estrutura através de acontecimentos a partir de uma negatividade. Em Žižek, podemos encontrar o problema do sujeito como o núcleo central de seu pensamento, mas esse realiza uma inversão da tradição que articula a passagem fundamental de uma metafísica da identidade para uma ontologia negativa. Dessa forma, o problema fundamental desse trabalho é desenvolver alternativas em relação a uma teoria do sujeito comprometida com a ideia de finitude humana, atrelada a um princípio identitário: pensar modos de compreensão do humano para além dos reconhecidos pela representação. Em contraponto a uma filosofia da identidade, o trabalho de Žižek tem se direcionado sobre a questão do excesso/falta na ordem do Ser, e é pela relação entre idealismo alemão e psicanálise que ele elabora suas reflexões. Essa perspectiva abre um campo político fundamental, pois a potência de desligamento de modos estruturais de subjetivação guarda a possibilidade de novas formas de subjetivação. Assim, o sujeito é isso que carrega a condição transcendental de possibilidade e impossibilidade dos modos de ser. Uma política que tem por horizonte a emancipação deve fazer um tipo de ruptura na compreensão do homem a partir de figuras identitárias. Diante desses problemas, é necessário estabelecer uma humanidade liberada da categoria "humano" e que possibilite novos rearranjos políticos. O “inumano”, então, seria precisamente essa dimensão do impessoal e do despersonalizado, o que não pode ser singularizado através do reconhecimento dos processos psicológicos individuais. A partir dessas reflexões sobre processos que acontecem para além dessa categoria de humano, o ato político-pedagógico crítico instaura sua própria legalidade, suspendendo a Lei do poder, abrindo espaços para a criatividade e a instauração de um processo de emancipação econômico-social, cultural e político.

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Music for Flute and Piano is a determinate composition for these two instruments. The technique used consists of serial saturations of pitch and rhythm as a starting point; however, the end result departed from strict adherence to serial procedure toward an intuitive variation of an 'A' and 'B' theme. A Script for Violinist incorporates determinacy and indeterminacy into a score; it is an exploration of violin idioms made 'in the moment,' capturing the many possibilities of bowing, fingering, and timing that become individualized by the performer.

This thesis is concerned with the longform poetics of Charles Olson and of John Cage, and with the role indeterminacy plays in their constitution and reception. The work of these authors poses unusual and particular challenges to readers, and it is towards readers and reading that this thesis is primarily oriented. Each chapter describes a problem or difficulty which these texts create for readers, and attempts to model that difficulty as clearly as possible in order to demonstrate how it forces readers to reassess received readerly protocols. As such, the thesis is also concerned with the limits of traditional critical methodologies in the face of such works. Though the concrete examples presented are mostly taken from a relatively circumscribed time and culture – the USA post-World War Two – I claim that the problematics of indeterminacy herein discussed are generally prevalent in long poetic forms, and in a certain sense constitutive of them. The thesis maps how ‘indeterminacy’ as a concept within literary criticism conflicts with that model of criticism concerned primarily with the ‘close reading’ of texts and the hermeneutic elucidation of ‘meaning’ thereby. Between historicism and close reading, it argues that this indeterminacy is most pervasive and yet most critically overlooked within traditions of what I call ‘longform’ poetics. The Introduction, discusses the unfitness of Cage’s early text ‘Indeterminacy’ to traditional modes of close-reading as exemplified in I.A. Richards and William Empson. It then recounts the developing discourse around poetic indeterminacy as it emerged through Roman Ingarden, Wolfgang Iser, Marjorie Perloff and Charles Altieri, and how that discourse increasingly configures the question of indeterminacy less around meaning and more around reading as an activity in itself. Chapter One provides a critical redescription of Olson’s hugely influential manifesto-essay ‘Projective Verse’ via comparison to Muriel Rukeyser’s The Life of Poetry. Chapter Two addresses the problem of reading speed with reference to Olson’s interest in the cinema. Chapter Three describes the poetics of heterogeneity and surprise exemplified by Cage’s Mushroom Book. Chapter Four investigates the arrangement and disarray of Olson’s ‘archive poetics’ and his insistent habit of listing. Chapter Five considers how Cage’s cavilling over the idea of ‘ideas’ informs and deforms his huge mesostic lectures I-VI. Chapter Six uses Olson’s interest in models to tease out the constitution of his longform poetics on a set of indeterminate part-whole relations. Chapter Seven traces the effects of typos in two editions of Cage’s Anarchy, and in the thought and editorial practices of Olson. Throughout, the thesis delineates various protocols for reading, models for how to engage the longform texts of Olson and Cage, aiming to demonstrate how for these poetries one needs to select and ‘read through’ a poetics as a sort of optic, one through which such reticent texts can be made legible.

Since the early fifties “open form” has become a generic description for many different compositional concepts having in common musical outcomes which to a certain degree are indeterminate. The introduction looks into different meanings given to “form” in music and gives a historical survey of the origins of compositional indeterminacy. Next, the concept of “open form” is elaborated into a territory which is usually not associated with it: jazz. The introduction is followed by five case studies. Folio (1952-54) by Earle Brown is considered to contain the first intentionally “open form” works. It is driven by improvisational ideas, either at the compositional stage or at the interpretative stage. Brown's affinity with jazz also offers connections to other topics of the thesis. Miles Davis' Ife (1972) may at first seem like an odd inclusion in this study, but it is not. Its only oddity could be that of all the works discussed it has no score. But it is a composition; it is recognizable throughout its various incarnations and repeatable, and its outcome is indeterminate. Adam Rudolph did not conceive Ostinatos of Circularity as an “open form” work, but it is an indeterminate composition: it does have a score the musical result of which depends on the decisions made by the composer/conductor during the performance as well as the choices made by the performers. In Peter Zummo's Experimenting with Household Chemicals the performers play the same, often ambiguous, score, moving in the same direction at their own speed and discretion. The lack of synchronicity and the ambiguous notation result in a very elastic organic form. Anne La Berge refers to her recent works as “guided improvisations”. The scores mainly consist of suggestive text materials, software preset descriptions and rudimentary verbal indications, leaving major decisions to the performers. The last chapter is about my own work. It presents seven works (the scores of which can be found in the accompanying portfolio), composed between 2007 and 2011. Each of these works uses the score as a “field” through which the performers roam.

A MAGAZINE – A game of Chutes and Ladders – a network of pools connected by streams, rivulets, creeks and rivers. Concerns: aluminum, sculpture, film, an endless image or an image-object, cork, shoulders as the center of movement, archery, wicker, nystagmus, darkness or the penumbral near-darkness, constant movement, beer, tone, musical forms, bells, gongs, The Titanic, purple, black and white, indeterminacy, Ghostface, yodeling, John Smith, John Adams, David Hammons, Beyoncé, Honda CR-V’s, Har-khebi, Ahnighito, Hermann Doomer, Prince, Yvonne Rainer, perception, double rainbows, composers from Transylvania, Los Angeles, and chandeliers. “Everything is everything.” and “A woman is the first teacher.”

A presente tese se dedica a examinar alguns aspectos do romance Acenos e afagos, de João Gilberto Noll, publicado em 2008. A obra, que privilegia a ambiguidade e a indeterminação, é narrada em primeira pessoa por um personagem que, ao longo do texto, não sabe se está morto ou vivo. Passando por uma transformação corporal, operada discursivamente, o narrador tampouco pode afirmar se é um homem ou uma mulher. A partir de elementos como o foco narrativo, o discurso do narrador, a construção de personagens e a configuração do tempo no texto em exame, é possível verificar estratégias formais que colaboram para a construção de uma narrativa indeterminada. Analisamos, portanto, tais elementos, articulando-os à não causalidade do enredo, bem como a temas centrais do romance, como a morte e o relacionamento amoroso. Alguns conceitos mostram-se especialmente produtivos para o estudo de Acenos e afagos: a situação-limite, o limiar e o excesso, que se relacionam tanto com os conteúdos trabalhados no enredo do romance, quanto com procedimentos estéticos utilizados pelo autor, visando a preservar a indeterminação na obra. / This thesis aims at examining some aspects of the novel Acenos e afagos, by João Gilberto Noll, published in 2008. The novel, which privileges ambiguity and indeterminacy, is narrated in the first person by a character who, throughout the text, does not know if he is dead or alive. Going through a body transformation, operated discursively, the narrator, originally a man, cannot say whether he has become a woman or not. Analyzing elements such as the narrator\'s position and discourse, character construction, and time setting in the text under review, it is possible to verify formal strategies that collaborate to construct an indeterminate narrative. We therefore interpret such elements, articulating them to the non-causality of the plot, as well as to central themes of the novel, such as death and the love relationship. Some concepts are especially productive for the study of Acenos e afagos: the limit situation, the threshold and the excess, which relate both to the contents worked on in the plot of the novel and to the aesthetic procedures used by the author, in order to preserve the indeterminacy in the story.

Claude Cahun was an artist and a leader who subverted social binaries by employing a non-determinable style. This intentional ambiguity is omnipresent in all of Cahun’s works, regardless of their style. To demonstrate this commonality, I will analyze her work of theatre, Heroines, five of Cahun’s self-portraits and her autobiography, Aveux Non Avenus. Although Cahun’s artistic mediums are very different respectively, all three of these works use a sense of artistic ambiguity to resist social binaries. Such techniques of indeterminacy include subversive rewritings of famous characters and self-portraits that use motifs such as masks and masquerade to subvert the gaze of the spectator. Additionally, her photomontages include a fleeing gaze, an obstructed gaze, and a gaze that confronts itself. In this thesis, I affirm that Cahun's methods are aligned with queer theory because the way that Cahun uses a queer identity in her works creates a form of political and social resistance against heteronormativity and homophobia. Therefore, I will show all of the ways that Cahun has used visibility as a Jewish gender neutral lesbian for social resistance.