[microsound-announce] Filigrane/Deleuze: Call for Papers

Charles Turner vze26m98 at optonline.net
Wed Apr 14 06:33:37 EDT 2010


Filigrane. Musique, esthétique, sciences, société

Deleuze and Music:

To inaugurate its new format, the review

Filigrane. Musique, esthétique, sciences, société

is launching a call for papers about Deleuze, the philosopher who has
influenced so many musicians and musicologists over the last thirty
years. The review is open to all kind of proposals, but will give
priority to the most original ones. The proposals (in English or in
French) should be sent before July 2010 to

Makis.Solomos at univ-montp3.fr

They should include: a) the (provisional) article or a detailed
abstract (between 1000 and 1600 words); b) a biography.

The proposals will be evaluated by the members of the editorial board
and by a review panel, which will be created especially for this
issue. Accepted articles will have to be submitted before December
15th 2010.

. . . .

Deleuze et la musique

Pour inaugurer sa nouvelle formule, la revue Filigrane. Musique,
esthétique, sciences, société lance un appel autour de Deleuze, le
philosophe dont l’approche de la musique a beaucoup influencé des
musiciens et des musicologues des trente dernières années. La revue
est ouverte à toute proposition, mais privilégiera les propositions
les plus originales. Les propositions d’article doivent être envoyées
avant le 30 juin 2010 à Makis.Solomos at univ-montp3.fr. Elles
comprendront : a) l’article (provisoire) complet  ou une proposition
détaillée (entre 6000 et 10000 caractères) ; b) une biographie. Chaque
proposition sera évaluée par les membres du comité de rédaction de la
revue ainsi que par un comité de lecture qui sera spécialement créé
pour ce numéro. Si l’article est accepté, il devra être envoyé dans sa
version finale avant le 15 décembre 2010.

. . . .

“What does music deal with, what is the content indissociable from
sound expression? It is hard to say, but it is something: a child
dies, a child plays, a woman is born, a woman dies, a bird arrives, a
bird flies off. We wish to say that these are not accidental themes in
music (even if it is possible to multiply examples) much less
imitative exercises; they are something essential.

“Why a child, a woman, a bird? It is because musical expression is
inseparable from a becoming-woman, a becoming-child, a becoming-animal
that constitute its content. Why does the child die, or the bird fall
as thought pierced by an arrow? Because of the ‘danger’ inherent in
any line that escapes, in any line of flight or creative
deterritorialization: the danger of veering toward destruction, toward

“Mélisande [in Debussy’s opera, Pelléas et Mélisande—Trans.], a child-
woman, a secret, dies twice (‘it’s the poor little dear’s turn now’).
Music is never tragic, music is joy. But there are times it
necessarily gives us a taste for death; not so much happiness as dying
happily, being extinguished. Not as a function of a death instinct it
allegedly awakens in us; but of a dimension proper to its sound
assemblage, to its sound machine, the moment that must be confronted,
the moment the transversal turns into a line of abolition. Peace and

“Music has a thirst for destruction, every kind of destruction,
extinction, breakage, dislocation. Is that not its potential
‘fascism’? Whenever a musician writes In Memoriam, it is not so much a
question of an inspirational motif or a memory, but on the contrary of
a becoming that is only confronting its own danger, even taking a fall
in order to rise again: a becoming-child, a becoming-woman, a becoming-
animal, insofar as they are the content of music itself and continue
to the point of death”.

(Gilles Deleuze, Félix Guattari, Mille plateaux)

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