Music After Deleuze (Deleuze and Guattari Encounters)

by: Edward Campbell (Author),Ian Buchanan(Series Editor)

Publisher: Bloomsbury Academic

Publication Date: 2014/1/2

Language: English

Print Length: 208 pages

ISBN-10: 1441101810

ISBN-13: 9781441101815

Book Description

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 Weste art music from Beethoven to Boulez and Behard 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 Weste and Easte 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.

About the Author

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 Weste art music from Beethoven to Boulez and Behard 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 Weste and Easte 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.