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This article offers a new strategy for cognizing musical indeterminacy based on Richard Sennett’s “five open forms for the city,” an intrinsically spatial way of thinking about what is “open” and how it is open. Sennett’s five forms (“synchronicity,” “punctuatedness,” “porosity,” “incompleteness,” and “multiplicity”) are explored individually as they impact our understanding of openness and/in music, illuminated by examples from contemporary experimental music.

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The histories of finance and music are more interconnected than they might at first appear. From ancient ideas on the mathematical harmony of the universe to ultra-contemporary approaches driven by networked data, the flow of sounds and the circulation of capital have long traced one another’s shadow. Indeed, since the publication of Jacques Attali’s Noise in 1977, musicologists and sound scholars have been probing how music as an expression of mathematical knowledge has intersected with a range of intellectual, social, and economic shifts.

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This paper describes a way to use blockchain-based non-fungible tokens (NFTs) to address some fundamental failures of the art world introduced when the early-twentieth-century evolution of financial markets expanded to include objets d’art as commodities. It proposes the creation of a distributed autonomous organization (DAO) that uses domain experts’ Delphic consensus methods embedded in smart contracts to provide NFTs with meaningful nonfinancial assessments of intrinsic artistic qualities and merit.