This work discusses some relationships between music and theory, starting from the idea of Musical Indeterminacy proposed by the North American artist John Cage and its consequences for music, language, ontology and thought. The first chapter approaches the subject through the concept of indetermination itself, experimental musical practices and verbal experiences of musical notation, that is, of scores formed only by words. The second chapter discusses the existence of a certain zone of indiscernibility between the writings of Gilles Deleuze and Felix Guattari and the music, looking for elements of a possible music-thinking, that is, a mode of thinking and an ontological conception in which music and sound are not subject to presupposed philosophical criteria, but function themselves as fundamental material for the construction of a philosophy