Music After Deleuze (Deleuze Encounters)
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Music After Deleuze explores how Deleuzian concepts offer interesting ways of thinking about a wide range of musics. The concepts of difference, identity and repetition offer novel approaches to Western art music from Beethoven to Boulez and Bernhard Lang as well as jazz improvisation, popular and sacred music. The concepts of the ‘rhizome', the ‘assemblage' and the ‘refrain' enable us to think of the specificity of musical works as the meeting of productive forces, for example in the contemporary opera of Dusapin and the experimental music theatre of Aperghis. The concepts of smooth and striated space form the starting point for musical and political reflections on pitch in Western and Eastern music. Deleuze's notion of time as multiple illumines the distinctive conceptions of musical time found in Debussy, Messiaen, Boulez, Carter and Grisey. Finally, the innovative semiotic theory forged in Deleuze-Guattarian philosophy offers valuable insights for a semiotics capable of engaging with the innovative, molecular music of Lachenmann, Aperghis and Levinas.
introduce the reader to a continuous stream of new concepts which not only articulate and re-articulate a difference-based, non-representational, fluid and molecular image of thought, but also embody it. In A Thousand Plateaus, the second of their Capitalism and Schizophrenia volumes and the companion to Anti-Oedipus, this new difference-based image of thought is embodied in three main concepts – as a rhizome, as a plane of immanence (or consistency) and as a Body without Organs. It is not
work of seventeenth-century philosopher Baruch Spinoza, who theorizes the working of the world in terms of organic and inorganic, human and non-human bodies, which encounter and operate on one another in a multiplicity of ways. In this respect, Deleuze’s two books on Spinoza, Expressionism in Philosophy (1968) and Practical Philosophy (1970, rev. 1981) lay the ground for the rhizomatic thought later developed in A Thousand Plateaus. For Amy Cimini, who picks up on the musical potential of this
of ‘Platonic separation’ of time and eternity, understood as the opposition of ‘a higher world of permanence and perfection (“a static, 116 Music After Deleuze spiritual heaven”) against an imperfect lower world of flux’ (Shaviro 2009, p. 38), Deleuze does not raise this objection explicitly against Messiaen. As with the other composers whose work is discussed in this chapter, the two temporalities, in practice, are often found in Messiaen’s compositions in mixtures that preclude their strict
multiplicity of approaches and the seeming impossibility of integrating them within a coherent framework, as well as the extent to which they seem to be mutually 132 Music After Deleuze incomprehensible, presenting what Lyotard would term a ‘differend’. Deleuze, in a sense, dissolves this problem by removing the ‘either . . . or’ logic within which it is most often framed, replacing it with the ‘and . . . and . . . and’ logic of the disjunctive synthesis. A post-Leibnizian logic now prevails
London: Oxford University Press. Malm, W. P. (1977), Music Cultures of the Pacific, the Near East and Asia (2nd edn). New Jersey: Prentice-Hall. Mannell, R. H. (1994), ‘The perceptual and auditory implications of parametric scaling in synthetic speech’. Ph.D. diss. Macquarrie University. http://clas.mq.edu.au/perception/psychoacoustics/ chapter2.html#sect_2_2_1_1, accessed 10 February 2013. Marcel, G. (2005), Music and Philosophy. Trans. S. Maddux and R. E. Wood. Milwaukee: Marquette University