Music After Deleuze (Deleuze Encounters)

Music After Deleuze (Deleuze Encounters)

Edward Campbell

Language: English

Pages: 208

ISBN: 1441157026

Format: PDF / Kindle (mobi) / ePub


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.

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electro-acoustic music)’ (Deleuze and Guattari 1994, p. 195). It is perhaps a fault line in Deleuze’s work that his forcibly non-historical and overtly non-historicist philosophy seems in fact to endorse some kind of progressivist narrative in relation to the opening up of pitch space. The exploration of this possible aporia will not be taken further within this study which instead will focus on a number of ways in which pitch space has been treated in terms of the two central values that form

Acknowledgements  viii Introduction  1 1 Music, difference and repetition  3 2 Producing new music: Rhizomes, assemblages and refrains  35 3 Rethinking musical pitch: The smooth and the striated  67 4 Thinking musical time  99 5 A Deleuzian semiotics of music  133 Conclusion  163 Notes  169 Bibliography  175 Index  187 Acknowledgements M any thanks to Ian Buchanan for asking me to write this book and for his editorial support and to Rachel Eisenhauer and Subitha Nair from Bloomsbury

the prominence he gives to intuition and to consciousness (Williams 2008, pp. 101, 132). Deleuze’s philosophy of time also shares certain elements in common with that of Alfred North Whitehead, who uses the term ‘prehension’ for the temporal process in which past, present and future are linked, so that every event is a prehension of other events. For Whitehead, the immediate past of ‘between a tenth of a second and half a second ago’ is retained or prehended in the present moment (Whitehead 1967,

advance of Husserl’s On the phenomenology of the consciousness of internal time (1893–1917). Clayton does not use this phrase. The term ‘module’ may be understood as whatever durational value or tempo is accepted as standard and from which related durations or tempi can be derived, while ‘partition’ seems to denote the division of the temporal continuum within striated time. This is achieved in practice through the placing of either clearly perceptible durations or tempi. See Carter’s article

musique en train de se faire. Paris: Editions du Seuil. Eco, U. (1976), A Theory of Semiotics. Bloomington: Indiana University Press. — (1984), Semiotics and the Philosophy of Language. London: Macmillan. — (1989), The Open Work. Trans. A. Cancogni. Cambridge, MA: Harvard University Press. Emery, E. (1998), Temps et Musique. Lausanne: L’Age d’Homme. Ferneyhough. B. (1995), Collected Writings. Ed. J. Boros and R. Toop. Amsterdam: Harwood Academic Publishers. Fleury, M. (1996), L’impressionisme et

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