Introduction: Musical Encounters with Deleuze and Guattari

Moisala, Pirkko; Leppänen, Taru; Tiainen, Milla; Väätäinen, Hanna

doi:10.5040/9781501316777.ch-001

Cited by 10 publications

(6 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…This view is shared by many ethnomusicologists (see Moisala et al, 2016) and music pedagogists (Hess, 2014(Hess, , 2018Talbot, 2013).…”

Section: Sonic Action: Musicking and Transmusickingmentioning

confidence: 90%

“…The change of focus moves the frame of reference for studying musicking to new-materialist approaches (e.g. Moisala et al, 2016;Thompson & Biddle, 2013;Tiainen, 2017). These perspectives, which expand the ontology of music, have adhered to Gilles Deleuze and Félix Guattari's philosophy, where the concept of becoming (devenir) has been used to instantiate the process making of existence.…”

Section: Sonic Action: Musicking and Transmusickingmentioning

confidence: 99%

See 1 more Smart Citation

Embodiment through digital intangibility: Infrastructures of musicking

Rautiainen-Keskustalo

2021

Journal of New Music Research

View full text Add to dashboard Cite

The paper examines the sonic experiences of the listener in digital environments by using a Bluetooth speaker as an example. It discusses how the everyday use of a speaker highlights human beings' material and multi-sensory situatedness in digital environments. Based on the analytical approaches concerning embodiment, movement, and infrastructures, the paper aims to develop further the idea of musicking in everyday life contexts. It suggests that in addition to the social importance of music, the material approach to musicking reveals new political and ethical questions, especially those concerning the power of code and planetary sustainability.

show abstract

“…This view is shared by many ethnomusicologists (see Moisala et al, 2016) and music pedagogists (Hess, 2014(Hess, , 2018Talbot, 2013).…”

Section: Sonic Action: Musicking and Transmusickingmentioning

confidence: 90%

Section: Sonic Action: Musicking and Transmusickingmentioning

confidence: 99%

Embodiment through digital intangibility: Infrastructures of musicking

Rautiainen-Keskustalo

2021

Journal of New Music Research

View full text Add to dashboard Cite

show abstract

“…Thereby, it allowed the contingency of musical composition (Campbell 2013), improvisation (Cobussen 2017) or performance (Nesbitt 2010) to be accounted for, by conceiving them not as symbolic practices exclusive to humans, but as emerging from transversal connections between a host of human and non-human actants. Thus, as Moisala et al (2017b, p. 18) note, an important feature of assemblage thinking is that it ‘enables the acknowledgement of the active agency of matter and non-human entities and forces’, As such, it can help to better elucidate the nature of the bees’ involvement in the project.…”

Section: Immanence and Agency In Musicking Assemblagesmentioning

confidence: 99%

“…Although his reading is grounded in the founding work of Deleuze and Guattari (1987), which has been adopted in music studies with increasing frequency (e.g. Buchanan and Swiboda 2004; Cambell 2013; Hulse and Nesbitt 2010; Macarthur et al 2016; Moisala et al 2017a), he also makes a series of significant modifications to the concept that I will attempt to explicate and put to use. In particular, DeLanda's work calls attention to how flows of single matter-energy coagulate into dynamic, relational assemblages, in which heterogeneous components – human and non-human, animate and inanimate – affect and are affected by one another.…”

Section: Introductionmentioning

confidence: 99%

Musicking assemblages and non-human becomings: Mapping morphogenetic processes and distributed agencies in Wolfgang Buttress’ the Hive

Szarecki

2023

Pop. Mus.

View full text Add to dashboard Cite

The paper introduces the concept of musicking assemblages to account for the agency of non-human actants in a project by contemporary artist, Wolfgang Buttress, that involved creating a musical soundscape together with bees. Collapsing distinctions between popular music, contemporary art and scientific research, the project exhibits musicking not as a result of human action but as emerging from intensive flows of matter-energy circulating between a multiplicity of actants, both human and non-human. Consequently, it presupposes a materialist ontology that breaks with anthropocentric hierarchies and encourages us to rethink popular music as always already involving ‘becoming with’ non-human others, in a way that overcomes the division between culture and nature, as well as its epistemological corollaries.

show abstract

“…'There has been a trend -a "minoritarian" one, to be sure -in the literature on Messiaen to use references by Gilles Deleuze to this composer as a starting point for an ecocritical appraisal of his music'(Maas, 2013, p. 175). 5 Among recent Deleuzian music studies, see notablyBuchanan and Swiboda, 2004;Hulse and Nesbitt, 2013;Macarthur, Lochhead and Shaw, 2016;Moisala, Leppänen, Tiainen and Väätäinen, 2017. …”

mentioning

confidence: 99%

Deleuze reads Messiaen

Lundblad¹

2022

STM-SJM

View full text Add to dashboard Cite

Gilles Deleuze’s and Félix Guattari’s celebrated work A Thousand Plateaus contains one of the most noteworthy philosophical employments of music from the twentieth century. Previous research has reconstructed how Deleuze imported musical concepts from Pierre Boulez into his thought, but analogous influences from Olivier Messiaen have been affirmed rather than investigated in detail. This article reconstructs the philosopher’s reception of Messiaen’s ideas on rhythm, a natural basis for music, birdsong and a colouristic dimension to sound. Working on the premise that a Boulezian modernism shaped Deleuze’s general appreciation of music, the study takes off from the composer’s portrayal of how themes in Wagner overturn prevalent structures and establish new modes of expression. Messiaen’s role in A Thousand Plateaus and other Deleuzian writings confirms the centrality of this outlook, connected to rhizomatic ideals of continuous transition in all musical parameters. At the same time, Deleuze’s reading of texts by and about the composer highlights ecological dimensions beyond Boulez’s historiography of modernism. Despite scant attention to Messiaen’s actual compositions, the philosopher’s theoretical framework offers original perspectives on a virtual creativity at the heart of musical renderings of birdsong. The composer left a noteworthy imprint on Deleuze’s affirmation of a certain artistic autonomy as a precondition for the power of music to render time and spaces audible.

show abstract

Introduction: Musical Encounters with Deleuze and Guattari

Cited by 10 publications

References 0 publications

Embodiment through digital intangibility: Infrastructures of musicking

Embodiment through digital intangibility: Infrastructures of musicking

Musicking assemblages and non-human becomings: Mapping morphogenetic processes and distributed agencies in Wolfgang Buttress’ the Hive

Deleuze reads Messiaen

Contact Info

Product

Resources

About