The following thesis accompanies a portfolio of eight compositions. These pieces focus on the manifestation of subtle uncontrolled events that emerge from the performance of the musical material. The work presented here adopts an idiosyncratic perspective on these events, regarding them as a form of ornamentation. This form of ornamentation is scrutinised in its structural and formal capacity to engender a contingent musical discourse, with a vocabulary and a syntax. The pieces included in the portfolio investigate a variety of approaches and techniques designed to invite these events to mani-fest themselves at a perceivable level and to have a prominent role within the listening experience. In-depth discussion on the composi-tional process behind each piece is to be found in Chapter 2 and Chapter 3. Chapter 1 delineates the context from which my music stems. It extensively addresses several relevant frameworks such as tactility, fragility, difference, material agency, recursivity, instability, and ornamentation, delving into the way these relate to my artistic practice. I draw from the work of a wide range of composers, musicologists, visual artists, philosophers, anthropologists, and scholars, including Peter Ablinger, Maryanne Amacher, Alain Badiou, John Baldessari, François Couperin, Gilles Deleuze, Eva Hesse, Yuk Hui, Tim In-gold, Alvin Lucier, Agnes Martin, Scott McLaughlin, Eliane Ra-digue, Lenore Tawney, James Tenney and many others.