Acknowledgements Introduction 1. Music, Difference and Repetition 2. Producing New Music: Rhizomes, Assemblages and Refrains 3. Rethinking Musical Pitch: The Smooth and the Striated 4. Thinking Musical Time 5. A Deleuzian Semiotics of Music Conclusion Notes Bibliography Index
A clear and concise overview of, and introduction to, Deleuze in the field of music.
Edward Campbell is Lecturer in Music at the University of Aberdeen, UK.
Edward Campbell shows how philosopher Gilles Deleuze, when
contemplating music, can steer musicians productively away from
their verbal comfort zones. Centring on the contact between Deleuze
and Pierre Boulez, Dr Campbell explores and explains some
particularly challenging ways of thinking about philosophical and
musical modernity. Music after Deleuze proves to be both
fascinating and open-ended, and it confirms that the on-going
engagement between philosophy and music (non-Western or popular as
much as Western and classical) continues to provoke and to
intrigue.
*Arnold Whittall, Professor Emeritus of Music Theory & Analysis,
King’s College London, UK*
Ranging from music close to Deleuze’s own interests to musics much
further away, this concise and useful introduction will be of much
benefit, as much to Deleuzians interested in what music might
reveal about Deleuze as to musicians keen to discover what Deleuze
might have to tell them about music.
*Martin Iddon, Professor of Music and Aesthetics, University of
Leeds, UK*
Edward Campbell’s Music after Deleuze is much more than a primer or
introduction. Instead of laboriously dissecting the philosopher’s
work or providing complex theoretical commentary, Campbell explains
key Deleuzian concepts in clear, accessible language and uses them
to think about music in fundamentally new ways. The book covers a
great diversity of musical styles and genres, from popular and jazz
through the canonic classical repertoire to non-Western and
avant-garde, and in each of these areas, Campbell proves an
engaging, perceptive and authoritative guide. Offering fresh and
illuminating insights at every turn, Music after Deleuze issues a
challenge to received wisdom and conventional thinking and presents
a way for music studies to revitalise itself.
*Björn Heile, Senior Lecturer in Music, University of Glasgow,
UK*
With admirable lucidity, Music after Deleuze demonstrates precisely
why the ideas of Gilles Deleuze have mattered – and still matter –
to many innovative musicians of today, and at the same time how
they enable radical rethinking of the familiar musics and musical
practices we take for granted. Tracing the diagonal pathways that
connect Deleuze with both his precursors in philosophy (Bergson and
Husserl) and the leading composer-theorists of the twentieth
century (Schoenberg, Messiaen and, above all, Boulez), Edward
Campbell shows how music provided the catalyst for a number of his
key concepts. In so doing, he opens the way not just for musicians
into Deleuze but also for Deleuzians into the music that has
shaped, and been shaped by, his groundbreaking philosophy.
*Charles Wilson, Lecturer in Music, Cardiff University, UK*
Music After Deleuze is an important and exciting contribution both
to Deleuze Studies and the contemporary philosophy of music,
addressing a broad range of topics from a Deleuzian standpoint
including difference and repetition, improvisation, and the musical
work and its semiotics. With erudition and insight, Campbell nimbly
describes for readers the many implications of Deleuze's philosophy
for the phenomenon of music in general (from Gamelan to Scottish
sacred psalms) with special emphasis placed on the modernism of the
Schoenberg School and Boulez.
*Nick Nesbitt, Professor of French and Italian, Princeton
University, USA*
As I see it, Music after Deleuze is until now the most thorough
study of the thinking of Deleuze’s (and Deleuze/Guattari’s)
relation to music. It’s also the most original, in so far as it’s
less concerned with what Deleuze wrote about music or composers,
but more about how his philosophical concepts and constellations of
concepts can be productive for rethinking music. Deleuzian concepts
are presented in a clear form and explained in a way that does not
need an in-depth understanding in advance, whether of Deleuze or
the musical examples. So is also the case with musical terminology;
for readers with an interest in the relationship between philosophy
and music the book is extremely useful as well as
thought-provoking.
*Arnfinn Bø-Rygg, Professor of Musicology, University of Oslo,
Norway*
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