Becoming-Music, Becoming-Intimate, Becoming-Imperceptible
Musicologists have recently begun applying the diverse philosophies of Deleuze and Guattari to music. Most contributors strive for rigorous adherence to early Deleuzian principles—a position I refer to as “orthodox”—and are therefore hesitant to posit any sort of musical objecthood or listener subje...
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| Udgivet i: | URI:https://journals.openedition.org/filigrane, |
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| Hovedforfatter: | |
| Format: | Article ou chapitre numérique |
| Sprog: | Anglais |
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Filigrane
2024
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| Online adgang: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Summary: | Musicologists have recently begun applying the diverse philosophies of Deleuze and Guattari to music. Most contributors strive for rigorous adherence to early Deleuzian principles—a position I refer to as “orthodox”—and are therefore hesitant to posit any sort of musical objecthood or listener subjectivity. By contrast, this article espouses an approach I deem “pragmatic,” which takes as points of departure pragmatist theories found in the work of Richard Rorty, as well as Deleuze and Guattari’s A Thousand Plateaus. Though one may initially point to the irreconcilable differences in their approaches, both Rorty and Deleuze were more interested in creative readings of canonical philosophers than in representing them objectively. My article, in turn, takes the same approach with the philosophies of Deleuze and Guattari, particularly their pragmatic theories of linguistics. After identifying this element as the driving force behind the “becoming” so central to their philosophy, the article closes with a pragmatic Deleuzo-Guattarian listening experiment involving Sigur Rós’s piece “Untitled One.” |
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