Music is Now Everywhere Deleuze Cage Schoenberg

8/13/2019 Music is Now Everywhere Deleuze Cage Schoenberg

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Jonathan Langseth

PHI607-Deleuze

Toadvine-Winter 09

Deleuze and Guattari, !hoen"erg and #age, and the Deterritorialization o$ %usi!

In Difference and Repetition, Deleuze sa&s, '(or there is no other aestheti! )ro"le* than

that o$ the insertion o$ art into ever&da& li$e+ 9./ I 1ould li2e to ta2e this !lai* seriousl& and

investigate ho1 it is o)erative in *usi! In A Thousand Plateaus 3TP/ Deleuze and Guattari

D4G/ assert, '%usi!5u)roots the re$rain $ro* its territorialit& %usi! is a !reative, a!tive

o)eration that !onsists in deterritorializing the re$rain+ .00/ In order to un)a!2 this "rie$ "ut

dense !lai*, 1e *ust $irst gras)ed 1hat is *eant "& re$rain and territor& ut in so doing 1e 1ill

$ind that 1e *ust 1restle 1ith nu*erous !on!e)ts !reated "& D4G in their atte*)t to generate an

ontolog& o$ *usi! I )ro)ose $ollo1ing i!2 es"itt8s a))roa!h '$ollo1ing Deleuze8s o1n

)res!ri)tion to ta2e !on!e)ts as various tools, and see 1hat the& *ight "ring to our understanding

o$ various *usi!al/ events+ ::/ In the end I 1ill suggest that in the histor& o$ Western *usi!,

the !o*"ination o$ the t1elve-tone serial *usi! o$ 3rnold !hoen"erg and the indeter*inate

!han!e *usi! o$ John #age *ar2 the !o*)lete deterritorialization o$ the re$rain and, ulti*atel&, o$

Western *usi!, thus in$initel& "roadening the )otential to "oth !reate and hear ne1 $or*s o$ *usi!

as )er!e)tive and a$$e!tive $or*s o$ e;)ression<and that in ever&da& li$e This !lai* 1ill "e!o*e

!learer a$ter so*e e;)li!ation

Let us "egin 1ith the !on!e)t o$ territor& D4G de$ine a territor& as an& *ar2ed o$$ s)a!e,

essentiall& an& $ra*e o$ s)a!e and=or ti*e, en!losed 1ithin a "order u!h a $ra*ing or

territorialization is e;)ressive What is e;)ressed is an arti!ulation or !lai*ing o$ a region, a "lo!

that has the $un!tion o$ )ronoun!ing so*ething or other $or an& variet& o$ )ur)oses >liza"eth

1



Grosz sa&s, 'Territor& is artisti!all& ins!ri"ed, the !onse?uen!e not o$ a naturall& sele!ted

'territorial i*)erative+ "ut o$ an artisti! *ove*ent the !reation o$ a *ar2er+ @A/ I$ *usi!

deterritorializes the re$rain, then the re$rain *ust alread& "e a territor&, a *ar2ing o$ e;)ressed

en!losure The re$rain is a soni! territor&, the "uzzing o$ a "ee or the s!rea* o$ one in Bo& or )ain,

the *oti$ one hu*s to !o*$ort the*selves at 1or2 Its relation to *usi! is integral and !o*)le;

While a!ting as the !ontent o$ *usi!, it is also 1or2s to )revent the a!tualization o$ *usi!

5the refrain is )ro)erl& *usi!al !ontent, the "lo!2 o$ !ontent )ro)er to *usi!5The *oti$ o$ the re$rain*a& "e an;iet&, $ear, Bo&, love, 1or2, 1al2ing, territor&5"ut the re$rain itsel$ is the !ontent o$ *usi!

3TP .00/

Cet,

The re$rain is5a *eans o$ )reventing *usi!, 1arding i$ o$$, or $orgoing it ut *usi! e;ists "e!ausethe re$rain e;ists also, "e!ause *usi! ta2es u) the re$rain, la&s hold o$ it as a !ontent in a $or* o$

e;)ression, "e!ause it $or*s a "lo!2 1ith it in order to ta2e it so*e1here else The child’s refrain, which is

not music, forms a block with the becoming-child of music 3TP .00/

While ta2ing the re$rain as its !ontent, *usi! disru)ts the territor& the re$rain en!loses e$ore

delving into ho1 *usi! ta2es u) and disru)ts the re$rain 1e need to $urther understand the nature

o$ re$rains and ho1 D4G vie1 art in general

The re$rain o)erates in the dual $un!tion o$ a!ting as !ontent and "lo!2age o$ *usi! "& 1a&

o$ $our di$$erent *ethods

e$rains !ould "e !lassi$ied as $ollo1s E/ Territorial re$rains that see2, *ar2, asse*"le a territor&F /

Territorialized $un!tion re$rains that assu*e a s)e!ial $un!tion in the asse*"lageF ./ the sa*e, 1hen the&

*ar2 ne1 asse*"lages, )ass into ne1 asse*"lages "& *eans o$ deterritorialization-reterritorializationF @/

re$rains that !olle!t or gather $or!es, either at the heart o$ the territor&, or in order to go outside it these

re$rains o$ !on$rontation or de)arture that so*eti*es "ring on a *ove*ent o$ a"solute

deterritorialization5/ 3TP .6-7/

We have alread& noted the $irst !lassi$i!ation in 1hi!h a $ra*e o$ e;)ression is )rodu!ed The

se!ond !lassi$i!ation $o!uses on the $un!tion the *ar2s the "oundaries o$ a territor&, the 2ind o$

e;)ression e;)ressed The third !lassi$i!ation involves either the destru!tion o$ the territor& and=or

the !on$iguration o$ a ne1 one, a "e!o*ing The $ourth !lassi$i!ation is a !on!entration o$ a

territor& to the e;tent that it intensi$ies its e;)ression, )ossi"l& to the e;tent that it e;)ands "e&ond

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its o1n "oundaries What is o$$ered in this !lassi$i!ation is a des!ri)tion o$ the e*ergen!e o$ art @/

out o$ a )rogression stret!hing "a!2 to the *ost "asi!s $or*s o$ e;)ression

In What is Philosoph! D4G vie1 art as "lo!s o$ )er!e)ts and a$$e!ts, inde)endent o$ the

artist or audien!e D4G sa& o$ )er!e)ts and a$$e!ts that, 'Per!e)ts are no longer )er!e)tionsF the&

are inde)endent o$ a state o$ those 1ho e;)erien!e the* 3$$e!ts are no longer $eelings o$

a$$e!tions the& go "e&ond the strength o$ those 1ho undergo the*+ What is Philoso)h& E6@/

$ !ourse, as >liza"eth Grosz notes, '5the sensations and a$$e!ts do not in the*selves *a2e u)

art on the !ontrar&, art is !o*)osed o$ *aterials, sounds, !olors, te;tures, *elodies and not a$$e!ts

or sensations/ The& are the )rodu!ts o$ art, 1hat art *a2es, 1hat ena"les art to stand on its o1n,

inde)endent o$ its !reator and o$ the !ir!u*stan!es o$ its !reation+ :9/ We *ight sa& that the

a$$e!ts produced in the a!t o$ a 1or28s producing is the )ro)er !ontent o$ art The )rodu!tion o$ an

a$$e!t re?uires a "e!o*ing in the "eing a$$e!ted This !hange in state *ust "e uni?ue, )osing the

)ro"le* $or the artist to !reate so*ething ne1 '>a!h art he de$ines "& its )ro"le*s, "& the

!hallenges $a!ed "& the !reator in the tas2 o$ *a2ing so*ething ne1+ ogue ./ This is 1h& D4G

assert that, 'The artist is al1a&s adding ne1 varieties to the 1orld+ What is Philoso)h& E7:/, $or

i$ the artist did not add ne1 varieties )rodu!ing ne1 a$$e!ts the& 1ould not "e artists and their

1or2 1ould no "e art

(ollo1ing Deleuze, Peter Hall1ard argues that art does not inter)ret or re)resent realit& "ut

rather *a2es it (ro* the division o$ a !ell to the )er$or*an!e o$ %ozart8s Re"uiem, the realit& o$

a!tualit&, or realit& as a!tualit&, is "eing $or*ed through e;)ression and !reativit& We !an $urther

suggest that all e;)ression and !reativit&, "roadl& !onstrued, is the !onstitution o$ li$e, "roadl&

!onstrued To ?uote Hall1ard, '3rt ena"les the $ull s)iritualization and de*aterialisation o$ li$e+

E0:/

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Hall1ard also highlights t1o i*)ortant )oints o$ Deleuze8s !on!e)tion o$ art that is *ust

"e "oth novel and autono*ous 3rt !annot "e a "are re)etition, nor de)endent u)on so*e e;ternal

$oundation, hen!e Deleuze8s $o!us on artist rather than !riti!s and audien!es The novel and

autono*ous ?ualities o$ art *ust "e ne!essaril& so in order to give it eternal standing as genuine

!reativit& This a))lies $or the generation o$ !ell division as *u!h $or the hu*an artist the a!t o$

!reation *ust "e an a!t o$ ne!essit& in and $or itsel$ This is 1hat deter*ines i$ the )rodu!t stands

or $alls in the $lo1 o$ ti*e e!e)tion is se!ondar&

The e;)ressive nature o$ territorializing is the aestheti!, the )rodu!er o$ '"lo!s o$

sensations,+ inde)endent o$ !ons!iousness, &et instantiated therein The sensations o!!ur through

"e!o*ing, $ro* the *ove*ent o$ *aBor to *inor This *ove*ent is deterritorializing (ollo1ing

Leonard La1ler8s reading o$ *aBor as the 'glo"al+ state o$ "eing, an& "e!o*ing 1ould !onsist in

'"e!o*ing-*inor,+ o$ 1hat one is alread& not (or Deleuze to "e!o*e is a *ove $ro* 1hat one is

to 1hat one isn8t This is 1h& to "e!o*e is to "e!o*e so*ething *inor, $or 1hat 1e are is alread&

the *aBor or do*inant $or* o$ our "eing

Deterritorialization, the )ro!ess o$ "e!o*ing, o!!urs through a !hange in 1hat D4G !all

)er!e)ts and a$$e!ts '5%usi! is )re!isel& the adventure o$ the re$rain the 1a& *usi! la)ses into

a re$rainF the 1a& it la&s hold o$ the re$rain, *a2es it *ore and *ore so"er, redu!ed to a $e1 notes,

then ta2es it do1n a !reative line that is so *u!h ri!her, no origin or end o$ 1hi!h is in sight5+

3TP .0/ This is 1h& art *ust "e novel, "e!ause it *ust !reate a "e!o*ing out o$ )re!e)ts and

a$$e!ts 'I$ the re$rain )rote!ts us $ro* !haos and enti!es us to a"ide and enBo& in a region

)rovisionall& en!losed $ro* !haos, *usi! o)ens u) and trans$or*s us, *a2ing o$ "oth our "odies

and o$ the earth itsel$ a ne1 site o$ "e!o*ings to1ard a di$$erentl& !ontained and dire!ted !haos, to

the o)ening u) and e;)loration o$ !haoti! ele*ents+ Grosz :6/ The !ontinual need $or ne1 $or*s

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o$ e;)ression )rodu!es a histor& o$ *usi!al !hangeE

D4G o$$er a traditional reading o$ Western *usi!al develo)*ent, !iting three stages,

#lassi!is*, o*anti!is*, and %odernis* In ea!h o$ these stages 1e $ind a "rea2 1ith the $or*er

In the #lassi!al stage 1e are at a )oint o$ a $i;ed tonal !enter and a rh&th* ta*ed "& a stead&

*easure o*anti!is* "egins to "rea2 rh&th*i!all& "& dan!ing around the *easure and tonall& "&

e;)loring ne1 )ossi"ilities o$ tonal invention, &et still !entered around an identi$ia"le tonal !enter

o*anti!is* rea!hes its a)e; 1ith the rh&th*i! variations o$ rah*s and the inde!i)hera"le

*ulti)le/ tonal !enters in the later 1or2s o$ Wagner the 'Tristan #hord+/ With %odernis* 1e

$ind a !o*)lete "rea2 1ith "oth *easured rh&th* and tonal !enters D4G suggest the&

5have tried to de$ine in the !ase o$ Western *usi! although the other *usi!al traditions !on$ront ananalogous )ro"le*, under di$$erent !onditions, to 1hi!h the& $ind di$$erent solutions/ a "lo!2 o$ "e!o*ing

at the level o$ e;)ression, or a "lo!2 o$ e;)ression this "lo!2 o$ "e!o*ing rests on transversals that

!ontinuall& es!a)e $ro* the !oordinates or )un!tual s&ste*s $un!tioning as *usi!al !odes at a given

*o*ent+ 3TP 99/

The s&ste*s es!a)ed $ro* in the "e!o*ing o$ *usi!, o$ *usi!8s histori!al evolution, are the

theories that territorialized *usi!al )ossi"ilities e!o*ing-*usi! is al1a&s a deterritorialization, a

*ar2 o$ ne1 e;)ression, a transgression o$ 1hat has "een or !urrentl& is The evolution o$ *usi!al

theories o$ !orrelative 1ith *usi!al develo)*ent onald ogue is !orre!t in suggesting that, 'In

virtuall& ever& regard, Deleuze and Guattari8s treat*ent o$ *usi! is the antithesis o$ the traditional,

Platoni! a))roa!h to the su"Be!t+ E6/ While the Platoni! a))roa!h see2s to dis!over the )er$e!t

har*oni! s&ste* as e;)ressed in an ordered, hierar!hi! re$le!tion o$ an ordered and hierar!hi!

!os*os, D4G suggest *usi! is al1a&s alread& a $leeing $ro* the "ounds o$ an& su!h )osited

s&ste* into and out o$ !haos <in the !ase o$ 1estern *usi! that o$ the tonal !enter o$ a 1or2 o$

1'e$rains, then, are rh&th*i!, *elodious )atterns, s*all !hants, ditties, that sha)e the vi"rations o$ *ilieus into that

har*oni!s o$ territories, the organization o$ a 1all or "arrier %usi! is the reverse *ove*ent, the li"eration o$ these

har*oni! and rh&th*i! )atterns $ro* their originating lo!ation and their )la!e*ent into a dou"le *ove*ent, "oth

*usi!all&, "e&ond the s*allness o$ the re$rain and on, to the song, the tune, the sonata, the duet, the s&*)hon&,

other $or*s o$ *usi!, genres, and so on, to $or*s as &et not even !on!eiva"le on the )lane o$ !o*)ositionF ands)atio-te*)orall&, "e&ond territor&, to individuals, )eo)les, ra!es, "odil& *ove*ents, )er$or*an!es+ Grosz :@/ 'The song is li2e a rough s2et!h o$ a !al*ing and sta"ilizing, !al* and sa"le, !enter in the heart o$ !haos+ 3TP

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*usi!.

While !iting Wagner8s 'Tristan !hord+ in 1hi!h $ive tonalities are )la&ed at on!e, *a2ing

ea!h and none a tonal !enter/ as the initial "rea2 1ith traditional tonalit&, i!2 es"itt re!ognizes

!hoen"erg8s t1elve-tone serial *usi! as the $inal destru!tion o$ the hege*on& o$ !lassi!al

tonalit& He sa&s 'this is a *usi! o$ sheer i**anen!e in 1hi!h ea!h *usi!al *o*ent arises out o$

another 1ithout re$eren!e to an e;ternal sour!e or st&listi! authorit&5+ 6E/ It is a !o*)lete

undoing o$ the hierar!h& !aused "& the i*)osed need $or tonal !enters to ground *usi!al

!o*)osition !hoen"erg hi*sel$ sa&s, 'Tonalit& is no natural la1 o$ *usi!, eternall& valid+ 9/

D4G suggest that the transition $ro* o*anti!is* to %odernis* "egins 1ith Wagner and

De"uss&

The 1or2 o$ the )lane o$ !o*)osition develo)s in t1o dire!tions that involve a disaggregation o$ the tonal

$ra*e the i**ense uni$or* areas o$ !ontinuous variation that !ou)le and !o*"ine the $or!es that have

"e!o*e sonorous Wagner, or "ro2en tones that se)arate and dis)erse the $or!es "& har*onizing their

reversi"le )assages in De"uss&<Wagner universe, De"uss&-universe 3ll the tunes, all the little $ra*ing

and $ra*ed re$rains<!hildish, do*esti!, )ro$essional, national, territorial<are s1e)t u) in the greate$rain, a )o1er$ul song o$ the earth<the deterritorialized<1hi!h arises 1ith %ahler, erg, and arto2

3nd no dou"t in ea!h !ase the )lane o$ !o*)osition generates ne1 !losures, as in serial *usi! What is

Philoso)h& E90/

I 1ould li2e to suggest that 1hile these !o*)osers, a*ong others, greatl& !ontri"uted to the *ove

to %odernis* in Western *usi!, that it is 1ith 3rnold !hoen"erg and John #age that %odernis*

rea!hes the a)e; o$ its deterritorialization o$ tonalit& and o)ens u) in$inite dire!tions and

di*ensions "& 1hi!h *usi! !an "e !on!eived and !o*)osedF and that $ro* this a)e; an ever

gro1ing nu*"er o$ )er!e)ts and a$$e!ts !an "e )rodu!ed

I 1ill )ro!eed to e;)lain 1h& "elieve this to "e the !ase, "ut 1ith t1o !aveats that

!hoen"erg and #age did not rea!h their res)e!tive )oints in Western *usi! histor& alone, and that

other !o*)osers "oth hel)ed $or* the ground and e;tend the !o*)ositional *ethods o$ these t1o

.EE/3 '3rt $unda*entall& '!onstitutes a d1elling, a do*ain+ out o$ !haos+ Lingus A0/

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!o*)osers as *entioned in the ?uote o$ D4G !ited a"ove onetheless, I 1ill *aintain that these

t1o !o*)osers together rea!hed a )oint in *usi!al !o*)osition that hold the )arti!ular )la!e *&

thesis !lai*s the* to hold

With !hoen"erg 1e not onl& rea!h the )oint o$ !o*)lete "rea2age 1ith tonal *usi!, the

)oint o$ tonalit&, "ut also the )oint at 1hi!h ea!h o$ the t1elve tonal )it!hes in Western *usi! is

given e?ual 1eight This e?ualit& is a!!o*)lished 1ith !hoen"erg8s serial !o*)ositions in 1hi!h

*usi! is !o*)osed "& starting 1ith a linear arrange*ent o$ the t1elve )it!hes, ea!h 1ithout

re)etition@ This arrange*ent !an "e reversed, inverted, or "oth, and the series !an "e given an&

rh&th*i! s!he*e o tonalit& !an "e given )rivileged over the others In other 1ords it is

i*)ossi"le $or there to "e a tonal !enter >a!h tone is $ree $ro* the "ondage o$ an& other tone In

so doing the di$$eren!e o$ ea!h tone is given e?ual 1eight This $ollo1s Deleuze8s notion o$

univo!it& '5nivo!it& in no sense i*)lies uni$or*it& n the !ontrar& univo!it& is a$$ir*ed as

the "asis and *ediu* $or a )ri*ordial and unli*ited di$$erentiation+ Hall1ard E/ erial *usi!

as univo!it& o$ a s&ste* o$ tones re!ognizes ea!h tone as e?ual in di$$eren!e to all others, there is

no tonal !enter o$ gravit&

Tonalit& is a $or*al )ossi"ilit& that e*erges $ro* the nature o$ the tonal *aterial, a )ossi"ilit& o$ attaining

a !ertain !o*)leteness or !losure "& *eans o$ a !ertain uni$or*it& To realize this )ossi"ilit& it is ne!essar&

to use in the !ourse o$ a )ie!e onl& those sounds and su!!essions o$ sounds, and those onl& in a suita"le

arrange*ent, 1hose relations to the $unda*ental tone o$ the 2e&, to the toni! o$ the )ie!e, !an "e gras)ed

1ithout di$$i!ult& u"se?uentl&, I shall "e !o*)elled to ta2e issue 1ith various as)e!ts o$ tonalit& and !an

there$ore !on$ine *& re*ar2s here to Bust t1o )oints E/ I do not, as a))arentl& all theorists "e$ore *e have

done, !onsider tonalit& an eternal la1, a natural la1 o$ *usi!5/ it is essential that the )u)il learnthoroughl& the "asis o$ this e$$e!t tonalit&K and ho1 to attain it !hoen"erg 7/

!hoen"erg8s theoreti!al intention is in line 1ith his artisti! a!hieve*ent, un"lo!2ing the evolution

o$ *usi! He has $reed the ear o$ the need $or resolution o$ dissonan!e, o$ !onsonan!es do*ination

@ 'The )eriod o$ $ree-atonal8 !o*)osition < *ore a!!uratel& !o*)osition $reel& using the t1elve-tone s!ale

)revious to !hoen"erg8s develo)*ent o$ the t1elve-tone serial ro1 < re$ers to a *ethod o$ !o*)osition in 1hi!h

all t1elve !hro*ati! tones are e*)lo&ed 1ithout re$eren!e to a trans!endent diatoni! s!ale or need $or s)e!i$i!

resolutions In this sense, this is a *usi! o$ sheer i**anen!e in 1hi!h ea!h *usi!al *o*ent arises out o$ another

1ithout re$eren!e to an e;ternal sour!e or st&listi! authorit&5+ es"itt 6E/

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over dissonan!e

3lthough serial *usi! involves a stri!t stru!ture, this need not hinder its $reeing o$ tonalit&

'5there *a& "e an advantage in "eing a"le to restri!t onesel$ to a ver& deter*inate zone in so*e

!ir!u*stan!es, and in others to 1iden or dee)en the zone to assure onesel$ !ounter)oint and to

invent !hords that 1ould other 1ise di$$use5+ 3TP ..E/ To "e $ran2, )ure serial *usi! is not

)leasant to listen to, nor do I "elieve that it is intended to "e so ather, it )rodu!es a$$e!ts o$

uneasiness, unsta"leness, u)set, and tension<in short, dissonan!e<1hile at the sa*e ti*e

)rodu!ing e$$e!ts o$ "e!o*ing that are li"erating, $reeing, and o)ening:

John #age introdu!ed the ele*ent o$ indeter*ina!& 1ith his '!han!e *usi!+ 1hi!h o!!urs

"oth at the level o$ !o*)osition and )er$or*an!e While !hoen"erg used a )re!ise and stri!t

stru!ture to $ree ea!h tonalit&, #age does a1a& 1ith the need $or )redeter*ined stru!ture all

together 3 !o*)osition !an "e 1ritten, $or e;a*)le, "& )la!ing notes 1here a $l& ha))ens to land

on a )ie!e o$ sta$$ )a)er, or "& allo1ing silen!e to *a2e evident the sounds that are !onsistentl&

surrounding us 3lthough D4G suggest that !o*)osers, su!h as #age, *a& at ti*es

go 'too $ar+ so that it re*ains a territorial re$rain,6 I "elieve #age8s introdu!tion o$ !han!e *usi!

or indeter*ina!& deterritorializes not onl& the re$rain, "ut Western *usi! in general #age 1rites

a"out the e;)eri*ental as)e!t o$ his *usi! '5!o*)osition5is indeter*inate 1ith res)e!t to its

)er$or*an!e That !o*)osition is ne!essaril& e;)eri*ental 3n e;)eri*ental a!tion is one the

out!o*e o$ 1hi!h is not $oreseen eing un$oreseen, this a!tion is not !on!erned 1ith its

: To give eviden!e to !hoen"erg8s intention, 1e need onl& !ite t1o )assages $ro* #armon His insisten!e to

'again and again5"egin at the "eginningF again and again5e;a*ine ane1 $or ourselves and atte*)t to organize

ane1 $or ourselves+ A/ and his e;!la*ation 'To hell 1ith all these theories, i$ the& al1a&s serve onl& to "lo!2 the

evolution o$ art5+ 9/ are "oth telling o$ his a))roa!h to *usi! theor& and )hiloso)h&=!riti?ue6 o*eti*es one overdoes it, )uts too *u!h in, 1or2s 1ith a Bu*"le o$ lines and soundsF then instead )rodu!ing a

!os*i! *a!hine !a)a"le o$ 'rendering sonorous,+ one la)ses "a!2 to a *a!hine o$ re)rodu!tion that 1inds u)

re)rodu!ing nothing "ut a s!ri""le e$$a!ing all lines, a s!ra*"le e$$a!ing all sounds53 *aterial that is too ri!h

re*ains too 'territorialized+ on noise sur$a!es, nature o$ the o"Be!ts5this even a))lies to #age8s )re)ared )iano/

3TP [email protected]@/

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e;!use5+ .9/ This ?uote un2no1ingl& e!hoes a related )assage $ound in Deleuze8s Difference

and Repetition

It is rather a ?uestion o$ a thro1 o$ the di!e, o$ the 1hole s2& as o)en s)a!e and o$ thro1ing as the onl&

rule5To a"olish !han!e is to $rag*ent it a!!ording to la1s o$ )ro"a"ilit& over several thro1s, in su!h a

1a& that the )ro"le* is alread& dis*e*"ered into h&)otheses o$ 1in and loss5& !ontrast, the thro1 o$the di!e a$$ir*s the 1hole o$ !han!e ea!h ti*e5The *ost di$$i!ult thing is to *a2e !han!e an o"Be!t o$

affirmation5When !han!e is su$$i!ientl& a$$ir*ed the )la&er !an no longer lose5 E9A/

This a$$ir*ation o$ !han!e is integral to Deleuze8s )hiloso)h& o$ di$$eren!e, in 1hi!h he advo!ates

the a$$ir*ation o$ di$$eren!e, o$ !han!e, under an& !ir!u*stan!e and out!o*e

Together, these t1o *ethods o$ stri!t stru!ture and intentional a"sen!e o$ )res!ri"ed

stru!ture, at the *o*ent o$ their re!ognition as *usi!, *ar2 the li*its o$ *usi!al e;)ression as a

hu*an a!t o$ artisti! !reation, and in so doing $ree the $ield o$ *usi!al !o*)osition to an ever-

o)ening e;)anse This is not to sa& the& are the li*its that restri!t *usi!al !o*)osition, "ut rather,

the& are the li*its that allo1 $uture !o*)osers the !a)a"ilit& to e;)eri*ent in an in$inite nu*"er o$

a))roa!hes and !reative dire!tions & $reeing *usi! $ro* an& tonal !enter, and "& $reeing *usi!

$ro* the need $or an& tones at all, 1e !an i*agine an& !onBun!tion o$ sounds as e;)ressive This is

the !o*)lete deterritorialization o$ Western *usi! eterritorialization, or the !reation o$ *usi!,

need not $ollo1 an& )arti!ular !o*)ositional a))roa!h r, inversel&, the !reation o$ *usi! !an

$ollo1 an& )arti!ular a))roa!h or *ethod The results 1ill )rodu!e a$$e!ts, )er!e)ts, $or*s o$

sensation o*e 1ill "ring us !loser to the ground, others to un*as2ed !haos, so*e to the !os*os

I suggest the !onse?uen!e o$ this !o*)lete deterritorilization o$ *usi!al !o*)osition is

t1o-$old (irst, it o)ens u) the )otential o$ *usi! !o*)osition to in$inite )ossi"ilit&, variation, or

ne1ness in reterroritoriaizations e!ond, it o)ens our ears to hear the audi"le e;)ressions o$ sound

in general that *a& at one ti*e, or still, !an "een understood and $elt as he *usi! o$ ever&da& li$e,

a !o*)lete deterritorialization 3s D4G ?uote #ezanne, 'ot a '*inute o$ the 1orld )asses that

1e 1ill not )reserve i$ 1e do not "e!o*e that *inute+ 3TP E69/ 3nd at ti*es '5nature is also

9



"eauti$ul 1here 1e do not understand her and 1here she see*s unordered+ !hoen"erg .0/

!hoen"erg and #age have *ade "oth these !lai*s i**anent in Western *usi!, "ut it is still u) to

the listener to !hoose to a!!e)t or a$$ir* the ne1 $or*s o$ listening and hearing the !o*)osers

o$$er In doing so, art 1ill not onl& )rodu!e ne1 $or*s o$ a$$e!t, "ut also "ring art into the

ever&da& 1orld, 1here 1e !an here and *a2e sounds that 1ould other1ise "e heard as noise,

nuisan!e, or "a!2ground, as *usi!

In !on!lusion I 1ould li2e to !o*e "a!2 to Deleuze8s ?uote at the o)ening this )a)er It

reads

(or there is no other aestheti! )ro"le* than that o$ the insertion to ever&da& li$e The *ore our dail& li$e a))ears

standardized, stereot&)ed and su"Be!t to an a!!elerated re)rodu!tion o$ o"Be!ts o$ !onsu*)tion, the *ore art *ust "e

inBe!ted into it in order to e;tra!t $ro* it that little di$$eren!e 1hi!h )la&s si*ultaneousl& "et1een other levels o$re)etition, and even to *a2e the to e;tre*es resonate <na*el&, the ha"itual series o$ !onsu*)tion and the

instin!tual series o$ destru!tion and death5a $reedo* $or the end o$ a 1orld53rtK leadsK us $ro* the sad

re)etitions o$ ha"it to the )ro$ound re)etitions o$ *e*or&, and then to the ulti*ate re)etitions o$ death in 1hi!h our

$reedo* is )la&ed out Di$$eren!e and e)etition 9./

I read this ?uote as *a2ing the !lai* that is the "e!o*ings )rodu!ed "& art that "rea2 us $ree $ro*

"are re)etitions and stati! *odes o$ "eing, into ne1 1orlds and selves '3 $reedo* $or the end o$ a

1orld,+ *ar2s the "eginning o$ a ne1 one '5lti*ate re)etitions o$ death5+ are the !hanging o$

ourselves, the "e!o*ing o$ ourselves, out o$ 1hi!h ne1 selves are "orn again 7 This !ontinual

"e!o*ing is nothing short than the edu!ation, e;)ansion, and develo)*ent o$ a 1orld or

individual In "e!o*ing nothing is lost that allo1s itsel$ to "e!o*e 1ith ne1 "e!o*ings We !an

"ring out the )ast in ne1 sha)es and $or*s "& a$$ir*ing the )ossi"ilities $or "e!o*ing !hoen"erg

and #age o$$er us not onl& the a"ilit& to hear ne1 $or*s o$ audi"le a$$e!ts, "ut also a !a)a"ilit& to

hear *usi! o$ the )ast ane1, "& a$$ir*ing the di$$eren!e or "e!o*ing it )rodu!ed, at its stage in the

develo)*ent o$ Western *usi! We !an no1 deterritorialize in an& dire!tion, )ast, )resent, and

7 '5su"Be!tingK onesel$ to the destru!tive $or!e o$ the !ontradi!tion, to run u) against a logi!all& i*)ossi"le5the

)oint o$ 1hi!h is to atte*)t to "rea2 through the sedentar& $i;ations o$ su"Be!tivit&, to )er!eive the )lane o$ the )ure

event, the trans!endental )lane o$ the univo!it& o$ "eing that itsel$ $ounds the $i;ed sel$-sa*e su"Be!t+ es"itt :6/

10



$uture

i"liogra)h&

ogue, onald Deleuze on $usic, Painting, and the Arts% outledge C, 00.

#age, John &ilence Wesle&an niversit& Press Hanover H, E97.

Deleuze, Gilles Difference and Repetition% Trans 3ul Patton #olu*"ia niversit& Press e1

Cor2, E99@

Deleuze, Gilles and (eli; Guattari A Thousand Plateaus Trans rian %assu*i niversit& o$

11



%innesota Press %innea)olis, E9A7

Grosz, >liza"eth 'haos, Territor, Art% #olu*"ia niversit& Press e1 Cor2, 00A

Hall1ard, Peter (ut of this World) Deleuze and the Philosoph of 'reation% Merso C, 006

Lingus, 3l)honso 'The %usi! o$ )a!e+ Rethinking *ature% >d ru!e M (oltz and o"ert

(rode*an Indiana niversit& Press loo*ington, 00@

es"itt, i!2 'Deleuze, 3dorno, and the #o*)osition o$ %usi!al %ulti)li!it&+ Deleuze and

$usic% >d Ian u!hanan and %ar!el 1i"oda >din"urgh niversit& Press >din"urgh,

00@

!hoen"erg, 3rnold Theor of #armon% Trans o& > #arter niversit& o$ #ali$ornia Press

er2ele&, E9A@

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Documents

Music is Now Everywhere Deleuze Cage Schoenberg