Abstract
For the last decade I have been endeavouring to compose into my pieces a less hierarchical composer/performer relationship. This originated through interaction with a particular performer and was bolstered through acquaintance with the work of CMPCP, for example Leech-Wilkinson’s (2012) exhortation to acknowledge performers’ agency in the distribution of meaning making along the composer-performer-listener/analyst chain. This has involved embracing collaboration in both rehearsal and performance which in turn has involved a questioning of authorship in my music - where it begins and ends. Such considerations have wrought changes in both aesthetic and technique, most particularly through my adoption of indeterminacy in relation to both notation and form. Following Gresser (2010), I view indeterminacy as a means of broadening the range of interpretative possibilities for the performer and engaging them as a co-creator.