The music of the Art Ensemble of Chicago was often considered to be politically oriented, and many of their performances addressed controversial political issues. However, these political moments were counter-balanced by public pronouncements in which the members of the group denied that their music was motivated by politics. I interrogate this seeming contradiction by analysing the Art Ensemble's ‘Get in Line’, a musical-theatrical piece from their 1969 album A Jackson in Your House. ‘Get in Line’ critiques Vietnam-era militarism and racism, and simultaneously proposes that African Americans respond to these issues in politically unconventional, oppositional, even playful ways. In so doing, ‘Get in Line’ challenges essentialist views of black experimental music and shows how the Art Ensemble – like their colleagues in the Association for the Advancement of Creative Musicians (AACM) – prioritized pluralism and individual agency over orthodoxy, whether in politics or in aesthetics.

Ernst Krenek's opera Jonny spielt auf (1927) was, according to the composer, concerned with ‘the problem of freedom’. But in what ways did it grapple with this problem? This article offers a new interpretation of Krenek's opera in light of the composer's views on freedom, developments in contemporary criticism, and the wider context of German Idealism. By focusing on constructions of subjectivity in Jonny, I argue that, much as Krenek lamented the fact that the opera's fundamental message had not been taken seriously enough in the work's reception, he himself had presented this theme of individual freedom ambiguously in musical terms. As a work that mediated between ethics and aesthetics, consistently adhering to an irreconcilable dialectic between the individual and the community, Jonny spielt auf contributed in important ways to the discourse that would stir so many Weimar intellectuals over the next few years to warn against the power of mass culture.

Morton Feldman composed his first works on graph paper in 1950–53, but he subsequently abandoned graph music, before taking it up again in 1958 at a time of rapidly increasing interest in musical indeterminacy and graphic notations in the United States and Europe. Feldman's return to graph music was a turning point in his career that would affect his subsequent output for almost a decade, but his principal surviving account of this change in his musical direction, which appeared in liner notes for an LP record, is misleading. This article presents a revised account that highlights a previously undocumented and atypical graph work that was used by John Cage to derive the graph now known as Ixion. In addition, it reveals links between Feldman's compositional ideas and those of Henry Cowell, explains how Robert Rauschenberg inadvertently affected the sound of Feldman's graph music for several years, and clarifies Feldman's response to problems he encountered in performances of his graph music.

This article demonstrates how performance may further understanding of – and offer new perspectives on – indeterminate music, and in particular the ways in which performers realize the indeterminate aspects of the scores. Cage's Solo for Piano (1957–8), one of the most celebrated indeterminate scores, is used as the model for such an approach. The close involvement that performers have with the score and the music over what is often a prolonged period of time leads to a particular kind of understanding, different from that of non-performers, which, when articulated, can offer valuable insights. After a brief outline of the score, the article begins by discussing the performances of other pianists, notably David Tudor. It then examines in detail the author's own approach to making a realization, discussing the implications of such an approach from both practical and aesthetic perspectives.

In contrast to established musicians, lesser-known composers have received scant attention in art music scholarship. This article, based on an ethnographic study, considers how a group of British composers construed ideas of success and prestige, which I analyse in terms of anthropological writings on exchange, Bourdieusian symbolic economies, and Foucauldian notions of disciplinary power. Prestige was ascribed to composers who created ‘interesting’ music, a category that eclipsed novelty as an aim. Individuality, enacted within a context of individualism, was key to assessing whether music was interesting. This individuality had to be tempered, structured, and embedded in the social norms of this and related ‘art worlds’. The article examines the social processes involved in creating this individuality, musical personality, and music considered interesting.