| Description |
1 online resource (209 pages) |
| Series |
Deleuze Encounters |
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Deleuze Encounters.
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| Contents |
Title Page; Copyright Page; Contents; Acknowledgements; Introduction; Chapter 1 Music, difference and repetition; Music and identity-thinking; Deleuzian difference, repetition, the virtual and the actual2; Identity, difference and repetition: Boulez, Webern and Schoenberg; Athematicism: The virtual theme; The open work: Virtual form; Difference as 'accumulative development'; Heterophony: The virtual line; Deleuzian difference beyond modernism; Gaelic psalm singing as heterophonic difference; Composition, improvisation, variation and Deleuzian difference; Beethoven and thematicism |
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Schoenberg, Brahms and developing variationConclusion; Chapter 2 Producing new music: Rhizomes, assemblages and refrains; Deleuze and Guattari and the assemblage; Planes, assemblages and milieus; Musical rhizomes and assemblages: Selective studies; Dusapin, Faust and the Rhizome; Contemporary operatic/music theatre assemblages; Aperghis and Avis de tempête; Goebbels and Neuwirth; Bernhard Lang, assemblages, difference and repetition; Conclusion; Chapter 3 Rethinking musical pitch: The smooth and the striated; Defining musical space; Smooth and striated pitch space |
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Smooth and striated space in Deleuze and GuattariTonality as the dominant Western system for striating and organizing musical pitch; Striated space: Alternative striations; Equal temperament and its Western others; Microtonality in music from Carrillo to Partch; Striating pitch space in Indonesian and Indian music; Spatial continuity (glissandi, clusters and clouds); Conclusion; Chapter 4 Thinking musical time; Boulez, Wagner, Proust and Deleuze; Deleuze and Guattari on time; Deleuze's three passive syntheses of time; Deleuze and his philosophical predecessors: Bergson, Husserl and Whitehead |
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Music, time and temporalityDebussy, Bergson and Jankélévitch; Messiaen and time; Boulez, Stockausen and musical time; Elliott Carter, metric modulation and temporal multiplicity; Grisey and a multiplicity of musical times; Conclusion; Chapter 5 A Deleuzian semiotics of music; Hjelmslev, expression and content in recent music theory; Expression and content: A Deleuze-Guattarian perspective; Deleuze, semiotics and music; Lachenmann, molecularity and captured forces; Aperghis and a Deleuzian logic of sense; Levinas, the hybridization of sound and 'becoming-animal'; Conclusion; Conclusion; Notes |
| Summary |
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 stria |
| Bibliography |
Includes bibliographical references and index |
| Notes |
Restricted: Printing from this resource is governed by The Legal Deposit Libraries (Non-Print Works) Regulations (UK) and UK copyright law currently in force. WlAbNL |
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Print version record |
| Subject |
Deleuze, Gilles, 1925-1995 -- Aesthetics
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| SUBJECT |
Deleuze, Gilles, 1925-1995 fast |
| Subject |
Music -- Philosophy and aesthetics.
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Philosophy: aesthetics.
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Music.
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Philosophy.
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MUSIC -- Genres & Styles -- Classical.
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MUSIC -- Reference.
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Aesthetics
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Music -- Philosophy and aesthetics
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Muziekfilosofie.
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| Form |
Electronic book
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| ISBN |
9781441173485 |
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144117348X |
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1441137599 |
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9781441137593 |
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