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首页 【德勒兹研究】使潜在发声:吉尔·德勒兹与音乐的哲学.pdf

【德勒兹研究】使潜在发声:吉尔·德勒兹与音乐的哲学.pdf

【德勒兹研究】使潜在发声:吉尔·德勒兹与音乐的哲学.pdf

上传者: 猫科动物 2011-12-10 评分 0 0 0 0 0 0 暂无简介 简介 举报

简介:本文档为《【德勒兹研究】使潜在发声:吉尔·德勒兹与音乐的哲学pdf》,可适用于人文社科领域,主题内容包含SoundingtheVirtual:GillesDeleuzeandtheTheoryandPhilosophyofMusicEditedbyBr符等。

SoundingtheVirtual:GillesDeleuzeandtheTheoryandPhilosophyofMusicEditedbyBrianHulseandNickNesbittSoundingtheVirtual:gilleSdeleuzeandthetheoryandPhiloSoPhyofMuSicThispagehasbeenleftblankintentionallySoundingtheVirtual:gillesdeleuzeandthetheoryandPhilosophyofMusicEditedbyBrianhulSeCollegeofWilliamandMary,USAandnickneSBittPrincetonUniversity,USAtheeditorsandcontributorsallrightsreservednopartofthispublicationmaybereproduced,storedinaretrievalsystemortransmittedinanyformorbyanymeans,electronic,mechanical,photocopying,recordingorotherwisewithoutthepriorpermissionofthepublisherBrianhulseandnicknesbitthaveassertedtheirrightunderthecopyright,designsandPatentsAct,,tobeidentifiedastheeditorsofthisworkPublishedbyashgatePublishinglimitedashgatePublishingcompanyWeycourteastSuiteunionroadcherryStreetfarnhamBurlingtonSurrey,guPtVtenglanduSawwwashgatecomBritishLibraryCataloguinginPublicationDataSoundingthevirtual:gillesdeleuzeandthetheoryandphilosophyofmusicdeleuze,gilles,–MusicPhilosophyandaestheticsihulse,Brianclarenceiinesbitt,nick’–dcLibraryofCongressCataloginginPublicationDataSoundingthevirtual:gillesdeleuzeandthetheoryandphilosophyofmusiceditedbyBrianhulseandnicknesbittpcmincludesindexiSBn(hardcover:alkpaper)–iSBn(ebook)Music–Philosophyandaestheticsdeleuze,gilles,––aestheticsihulse,Brianclarenceiinesbitt,nick,–MlS'–dciSBn(hbk)iSBn(ebk)BachmusicologicalfontdevelopedbyyotomitaIIcontentsListofFiguresviiListofMusicExamplesixNotesonContributorsxiIntroductionxvBrianHulseandNickNesbitttheimageofthoughtandideasofMusicChristopherHastythinkingMusicaldifference:MusictheoryasMinorScienceBrianHulseadeleuziannoiseexcavatingtheBodyofabstractSoundSeanHigginstheSoundofrepeatinglife:ethicsandMetaphysicsindeleuze’sPhilosophyofMusicMichaelGallopeEnforceddeterritorialization,orthetroublewithMusicalPoliticsMartinScherzingergillesdeleuzeandtheMusicalSpinozaAmyCiminiintensity,Music,andheterogenesisindeleuzeJeanGodefroyBidimaTranslatedbyMichaelWiedorncritiqueandclinique:fromSoundingBodiestotheMusicaleventNickNesbittlogicofedge:Wolfgangrihm’sAmHorizontJudyLochheadSoundingtheVirtualviMusicandthedifferenceinBecomingMarianneKielianGilberttransformationandBecomingotherintheMusicandPoeticsoflucianoBerioBruceQuaglialine,Surface,Speed:nomadicfeaturesofMelodyIldarKhannanovBibliographyIndexSoundparticlesplottedinXenakis’stimeslicescreensabookofscreens(lifeofacomplexsound)coltranechangesAmHorizont,mapofopeningpassageAmHorizont,openingofedgesphase,showingpitchregisterandtimbralqualitySchematicmapofAmHorizontAmHorizont,mm–AmHorizont,detailedmapoftheedgesphaseAmHorizont,detailedmapofcottonphaseAmHorizont,mm–,thefallAmHorizont,detailedmapoftheedgesrememberingphaseAmHorizont,mm–,conclusionofedgesrememberingphaselistoffiguresThispagehasbeenleftblankintentionallylistofMusicexampleschopin,ScherzoforPianoineMajor,op(mm–)chopin,ScherzoforPianoineMajor,op(mm–)Beethoven,SymphonyNo,firstmovement(mm–)Wagner,DasRheingold,acti,Scene(mm–)Wagner,DasRheingold,acti,Scene(mm–)JSBach,Suitenoingmajor,BWV,MenuetiiStravinsky,Tangoforpiano(rightandlefthandrhythms),amm–bmm–Bashkirianprolongedsong“hairullakai,”versefrédéricchopin,Balladeno,op,mm–frédéricchopin,Mazurka,opno,mm–ThispagehasbeenleftblankintentionallynotesoncontributorsJeanGodefroyBidimaisyvonnearnoultchairoffrancophoneStudiesattulaneuniversityandformerProgramdirectorofthecollègeinternationaldePhilosophieinParis,francehispublishedbooksinclude:AfricanArt(),ThePalaver:AJurisdictionofSpeech()NegroAfricanPhilosophy()andCriticalTheoryandNegroafricanModernity:FromtheFrankfurtSchooltothe“DoctaspesAfricana”()hehasalsopublishednumerousarticlesondeleuze,feijoo,music,art,medicalethicsandphilosophyheistheeditorandcoeditorofPhilosophiesafricaines:Traverséesdesexpériences()andRéalitésetreprésentationsdelaviolenceenpostcolonies()BidimareceivedhisdoctorateinPhilosophyandadiplômed’etudesapprofondiesinSciencesofartfromtheSorbonne(universitéParisi)AmyCiminiisPhdcandidateinhistoricalMusicologyatnewyorkuniversityherresearchinterestsincludephilosophyandintellectualhistory,contemporaryexperimentalandnoisemusic,aswellastheoriesofembodimentandperformanceherdissertation,“Musicology,PhilosophyandtheSecrethistoryoftheMindBodyProblem,”examinestheintellectualhistoryofBaruchSpinozaphilosophy’simpactonmusicalthought,arguingthatSpinoza’santicartesianontologyradicallyexpandstheethical,moralandpoliticaldemandsmusicstudiescanmakefromnewperspectivesonthemindbodyunionasaprofessionalviolist,amyisafoundingmemberofchambermusiccollectivetillbyturning,improvisingduoarchiteuthisWalksonlandandcollaborateswithmanyBrooklynbasednoiseandrockprojectsSheisacurrentlyaVisitinginstructorofMusictheoryatthecollegeofWilliamandMaryMichaelGallopeisaPhdcandidateinhistoricalMusicologyandafellowatthehumanitiesinitiativeatnewyorkuniversityhisresearchfocusesonmodernism,philosophyandintellectualhistory,popularmusic,andthehistoryoftechnologyheispresentlycompletingadissertationentitled,“techniqueandSingularityinModernistPhilosophiesofMusic,–”thatshowshowthephilosophicalpositionsespousedbyBloch,adorno,Jankélévitchanddeleuzeeachattempttousespeculativethoughttolinkspecifiedmusicaltechniqueswithvariouslynonrelational,oftentranscendentphilosophicalsingularitiesasaprofessionalmusician,heisamemberoftwoBrooklynbasedavantrockbands,Skeleton$andStarring,andanorganplayerwithJankaNabayandtheBubuGangin,hewillundertakeanarchivalstudyofrichardhellandtheVoidoid’salbum,BlankGenerationSoundingtheVirtualxiiChristopherHastyisWalterWnaumburgProfessorofMusictheoryatharvarduniversityhispublicationsspecializeinmusicofthetwentiethcentury,treatingproblemsoftheoryandanalysis,particularlyinrelationtotemporalityhisbook,MeterasRhythm,wontheWallaceBerryawardfromtheSocietyforMusictheoryastheoutstandingtheorystudyofhastyreceivedhisPhdfromyaleuniversity,servedaseditoroftheJournalofMusicTheory,andservedontheeditorialboardofMusictheorySpectrumhehasalsocomposedanumberofworksforavarietyofchamberensemblesSeanHigginsisanindependentscholarfromPortland,MainewhohaspreviouslystudiedatthecentreforModernthoughtattheuniversityofaberdeenhisprimaryinterestsincludemediastudiesandauditorycultureheiscurrentlycoauthoringavolumeonthebiopoliticsofsonicnoiseasdeployedinthemodernoccupationBrianHulse(Phdharvard’)isassociateProfessorofMusicatthecollegeofWilliamMaryhehaswrittenonavarietyofmusictheoreticalandphilosophicalsubjectsincludingrepetition,improvisation,temporality,Bergson’sconceptofthevirtual,andthemusicofMorrisrosenzweiganactivecomposer,hulsehasproducedanumberofchamberandoperaticworksacdofhismusicappearsonalbanyrecordsinthesummershedirectsthecompositionprogramatthesoundScaPefestivalinMaccagno,italyheiscurrentlycomposingafullscaleoperaonedithWharton’sTheAgeofInnocenceIldarKhannanovisprofessorofmusictheoryatPeabodyinstituteoftheJohnshopkinsuniversityheearnedhisPhdinmusictheoryfromucSantaBarbara(dissertationonSovietMusictheoryandanalysiswithdrPietercVandentoorn)andaspiranturafromtheMoscowStateconservatory(dissertationonNonverbalSpecificityofMusicwithDrYuriKholopov)HestudiedphilosophywithdrJacquesderridaatucirvinein–khannanovworkedattheBashkirianBranchoftheSovietAcademyofSciencesasafolkloristThefieldofhisinterestsspansfrommusicanalysistofrenchphilosophy,existentialsemioticsandnomadiccultureMarianneKielianGilbertteachesmusictheoryatindianauniversityShehaspublishedonStravinsky’smusic,tonalSchenkeriananalysis,twentiethtwentyfirstcenturymusic,andmusicandculturalstudieswithparticularemphasisonmusicandfeministtheoryherrecentworkcentersonmusiclistening,media,andsubjectivityinchangingtemporalorientationshermultidisciplinarymultimediapresentationshaveexploredgenderandsexualityinBritten’smusic,musicofcontemporarywomencomposers,PicassoandStravinsky,thepoetryofSylviaPlathinmusicofShulamitran,tangoanddance,andmusicanddisabilityStudiesNotesonContributorsxiiiJudyLochheadistheoristandmusicologistwhoseworkfocusesonthemostrecentmusicalpracticesinnorthamericaandeuropeutilizingconceptsandmethodologiesfrompostphenomenologicalandpoststructuralistthought,sheaddressestheuniquelydefiningfeaturesofthisrepertoireHerworkdistinguishesbetweentheconceptionsofmusicalstructureandmeaningthatderivefromthedifferingperspectivesofperformers,listeners,andcomposerstworecentarticlesinclude:“VisualizingtheMusicalobject”Expanding(Post)Phenomenology:ACriticalCompaniontoIhde,edevanSelinger(),and“’howdoesitWork’:challengestoanalyticexplanation”MusicTheorySpectrum()WithJosephauner,lochheadcoeditedPostmodernMusicPostmodernThought()NickNesbittisProfessoroffrenchatPrincetonuniversityheistheauthorofUniversalEmancipation:TheHaitianRevolutionandtheRadicalEnlightenment(),andVoicingMemory:HistoryandSubjectivityinFrenchCaribbeanLiterature(),theeditorofTheHaitianRevolution:ToussaintLouverture(),andhasauthorednumerousarticlesinjournalssuchasYaleFrenchStudies,RomanicReview,SubStance,L’EspritCréateur,Critique,RueDescartes,andTelosheiscurrentlycompletingamonographentitledCaribbeanCritique(forthcoming,)BruceQuaglia,composerandtheorist,isassociateProfessor,lecturerofMusicattheuniversityofutahhispublishedworkfocusesonthetheoriesofarnoldSchoenberg,themusicofthetwentiethcentury,anddisabilitystudiesinmusicheiscoeditorwithJackBossofthecollectionMusicalCurrentsfromtheLeftCoast()MartinScherzingerisassociateProfessorofMedia,cultureandcommunicationatnewyorkuniversityhisresearchspecializesinmusicalculture,mediaandpoliticsofthetwentiethandtwentyfirstcenturies,withaparticularinterestinthemusicofhighmodernism,minimalism,postmodernism,transnationalmusicalfusions,electronicdancemusic(fromdiscototrance),nonwesternmusic,thepoliticalhermeneuticsofabsolutemusic,culturesofmusicology,soundstudiesandmusictheoryinaninternationalframe,andtheeconomicdeterminantsofglobalizationThispagehasbeenleftblankintentionallyintroductionBrianhulseandnicknesbittWithoutquestion,gillesdeleuze(–)hasproventobeoneofthemostinfluentialandinspiringphilosophersofourtimeHisinfluenceonthehumanitiesineurope,northamerica,andbeyond,continuestoprovokenewthought,challengeoldideas,andinspirescholarsandthinkersofseeminglyeveryconceivabledisciplinethosefamiliarwithdeleuze’soeuvrewillundoubtedlybeawarethathisworkwaspassionatelydevotedtotheartsfilm,painting,andsoonButfewoftheartselicitthekindoflavishattentiondeleuzeaccordstomusicdeleuze’swritingsonmusicareextensive,provocative,insightful,andnotwithoutcomplicationsorcontradictionsButtodatetherehasbeenverylittleresponsefromactualmusicscholarsWhathastrickledouthasbeenpiecemeal,oftenfocusedononlyasmallsectionofdeleuze’swritings,andhastoooftentreatedthesewritingsinahaphazardmannerasacorrective,SoundingtheVirtual:GillesDeleuzeandtheTheoryandPhilosophyofMusicdemonstratesthatDeleuzehasimpactedandhasevengreaterpotentialtoimpactthefieldofmusicscholarshipprofoundlythisvolumeresoundsasaholisticresponsetodeleuzefromacrosssectionofscholars,themajorityofwhomaremusicologistsandormusictheoristsDeleuzehadmuchtosayaboutmusicHere,forthefirsttime,isacoherent,comprehensivereplyfromthefieldofmusicstudiestherearetwooverarchingconcernswhenattemptingtoexpandourabilitytothinkmusicthroughdeleuzeandneithercandowithouttheotherfirstistheneedtopushbeyondwhatdeleuze(oftenwithguattari)wasabletodofortheauthorsinthisvolumethesenseisclearlythatdeleuzeonlyscratchedthesurfaceoftheinfinitemodesofmusicalembodimentThereismuch,muchmoretobedoneandyetthesecondconcernmakesamessofthisprojectaswillbeclearfrommanyofthechaptersherein,muchofwhatdeleuzewroteaboutmusicwasnottransparentlyconsistentwithhisoverallphilosophicalprojectnotonlyisanextensiondeeperintomusicnecessary,butitwillserveasacorrectiveaswellTheresultsareassignificantformusicastheyareforDeleuzestudiesingeneralOneoftheproblemsthefieldofmusicstudieshasfacedisitsseemingisolationfromthelargerscholarlyworldMuchhasbeenimported,butwithlessreciprocitythoughscholarsinculturalstudies,literature,andphilosophyhavewrittenondeleuzeandmusicexamplesincluderonaldBogue’sDeleuzeonMusic,Painting,andtheArts(londonandnewyork:routledge,)ianBuchananandMarcelSwiboda,eds,DeleuzeandMusic(edinburgh:edinburghuniversityPress,)andrichardPinhas’LeslarmesdeNietzche(Paris:flammarion,)SoundingtheVirtualxviAndwhathasbeen“broughtin”fromotherfieldshasoftenbeenselectedforitsusevaluethisselfselectionevincesacertainimmunitymusicologyhasenjoyedfromoutsidescrutiny,primarily,weimagine,because“outsiders”simplycan’tunderstandthelanguagemusicscholarsspeak,especiallywhenitcomestotechnicaldescriptionsoranalysisofmusicconsequently,musicscholarshiphasevadedtoalargedegreemuchoftheadvancesincriticalthinkingthathavebenefittedotherfields,andthereforehasfailedtomakethekindsofchangessuchacritiquemightdemandinordertopressthiskindofscrutinyandchangeuponthe(otherwisecomplacent)fieldofmusicstudies,whatisrequiredisthekindofinterventionthatisabletopivotbetweenmusicandphilosophyadequatelyinotherwords,aninterventionbyspeakersofmusic’sinternallanguage:musicologistswhoarewillingtoabandontheircomfortzoneandtackledifficultphilosophicalterritorythatmightforceareevaluationoftheirmostbasicassumptionsandbeliefsthisvolumebindstogethertheprojectsofseveralsuchmusicologistswhohaveengagedthethoughtofdeleuzeinsustainedandseriouswaystheresultingwhole,webelieve,canandshouldhaveasignificanteffectonhowmusicisthoughtaboutandtaughtinacademiathecollectivevoicesoftheauthorsinthisvolumeareclear:nolongerisitadequatetosustainadiscourseonmusicthatisrootedinextended,objectorientedmetaphors,orthatpresupposesdualismsbetween“thelistener”and“themusic”nolongerisitadequatetoexcisemusicalrepetition,ortoreducemusicaldifferencetothemetricsofmeasurementNolongerarewejustifiedinthinkingofmusicassubordinatedtomore“serious”formsofthoughtnolongerareboundariesbetweenmusicandthebody,thebodyandculture,cultureandpolitics,politicsandenvironment,orthosebetweenmusictheory,musicology,andethnomusicology,orthosebetweenvariousculturalpractices,oranynumberofotherjurisdictionaldistinctionstodictatetheformandflowsofmusicandmusicalinquiryinextendingthedeleuzianprojectmoredeeplyintomusic,ourwritersareabletoproduceabetterunderstandingofdeleuze’svariouswritingsonmusicforthelargerfieldofDeleuzianstudiesThismuchisclearButwebelievethereismoreatstakedeleuze’srepeatedrecoursetomusictellshisreadersthatafullexplorationofhisthoughtrequiresthatmusicandphilosophyconstantlymediateoneanotherthroughtheirextremesthefollowingchapterseachaddressthisimperativeinsingularfashion,movingbetweenanintensive,informedengagementwiththesetwindomainsofthoughtandsoundtakenupattheirhighestpitchandintensityfordeleuzianphilosophy,oneresultisthat,ingrapplingwiththemostdemandingmusicalmaterial,onecanhopetopushthefacultyofthoughtbeyondsedentaryhabit,towardthetrulytranscendentaldegreesofexpressionthatdeleuzecalledforinDifferenceandRepetitionasMartinScherzingerremindsusinhischapter,musichaslongbeenrecognizedtobearanuncannypowerfordeterritorializationifthissublimecharacterhasbeenacommonplaceofmusicandaestheticstudiesformillennia,inthefollowingpagesreaderswillfindnovelmachines,soundIntroductionxviithoughtmachines,whosemechanicsarefreelyconstructedfromthetoolboxes(orrepertoires)ofthesetwofieldsJustaswebelieveitisimportantfordeleuzianstudiesingeneralto“hear”thefieldofmusicspeak,itisalsoimportantformusictohearitselfspeakoutsideitsclosedchambersinotherwords,todiscoveritsphilosophicalvoice,itscontributiontophilosophy,onethatisfullysufficientinitsownrightMusicisnototherthanknowledgetheproductionofconceptswhichdeleuzeconsideredthetruevocationofphilosophymustemphaticallyincludetheproductionofmusicalconcepts,andthepagesthatfollowinitiatethisproduction,constructingaplaneofmusicalthoughtthatfinallybeginstoforcemusicalthoughtitselfinthedirectionmusichasalwaysexcelled:tobreakfreefromtheweightofstructuraldoxa,fromtheanalyticalreductionsthatcaptureandovercodetheinfinitebecomingsofmusicalexpression,toreleaseinsteadthefullintensityofthethoughtofsoundtosoundthevirtualcanmeanonlyt

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