Logic of Experimentation: Reshaping Music Performance in and through Artistic Research

Contents

• Preface: A Transdisciplinary Conjuncture
• Introduction: Experimentation versus Interpretation
• Part 1. Assemblage Theory for Music
• Chapter 1: Virtual Works—Actual Things
• Rasch — The limits of music philosophy and the role of artistic
• research — Music ontologies: some problems — Beyond
• transcendence: approaching a Deleuzian ontology — Virtual
• works, actual things: towards a new image of musical work —
• Strata — Rasch25: . . . vers la nuit
• Chapter 2 : Assemblage, Strata, Diagram
• Musical works as assemblages — Agencement, logic of assemblage,
• assemblage theory — Intermezzo: a note on translation —
• From structure to assemblage — Strata — Diagram — Logic of
• assemblage
• Part 2: Experimental Systems in Music
• Chapter 3: Experimental Systems and Artistic Research
• An epistemology for artistic research? — A methodology for
• artistic research — Hans-Jörg Rheinberger’s experimental systems
• — Thought collective and ensembles of experimental systems:
• MusicExperiment21 — Series of experiments and modules of
• research
• Chapter 4: Epistemic Complexity in Music Performance
• Complexity and epistemic complexity — Epistemic complexity
• in biology — Epistemic complexity in technology — Epistemic
• complexity in music — Experimentation in music performance:
• how to make the future?
• Part 3. Beyond Interpretation: Bodies-in-Action
• Chapter 5: Transduction and the Body as a Transducer
• Transduction in music performance: relaying f lows of intensities;
• — Gilbert Simondon’s various definitions of transduction —
• Discharge (potentiality); — Passage (time and temporality);
• — Energy (thermodynamics): potential, scales, entropy
• — Information theory: structural germs and singularities
• (structuration) — Haecceity: from haecceitas (Duns Scotus) to
• eccéité (Simondon) to heccéité (Deleuze and Guattari) to microhaecceity
• — Topology: in-formation — Corporeality: somatic
• transduction — Permanent transduction: being-in-the-world and
• fluctuatio animi; 11. Conclusion
• Chapter 6: Rasch26 : The Somatheme
• The somatheme — Roland Barthes at the piano: musica practica —
• The impact of Julia Kristeva: phenotext and genotext —
• New musical concepts: geno-song, pheno-song, somatheme —
• Intermezzo: fourteen somathemes — The impact of Jacques
• Lacan: signifier and jouissance — Lacan’s desire — Situating the
• somatheme within Lacan’s graphs of desire — Conclusion: artistic
• research and transdisciplinarity
• Part 4. A New Ethics of Performance
• Chapter 7: The Emancipated Performer:
• Musical Renderings and Power Relations
• Music performance and power relations — The dominant image
• of work and the problem of interpretation — The tacit authorities:
• Deleuze’s “Postscript on the Societies of Control” — Nietzsche’s
• three modes of relation to history: monumental, antiquarian,
• critical — A new image of work — The emancipated performer
• Chapter 8. . . . at the borders of time that surround our presence . . .
• What is the contemporary? — Agamben’s contemporary: Barthes
• reading Nietzsche — Nietzsche’s untimely: lost in translation —
• . . . at the border of time that surrounds our presence . . . — Artistic
• research as the carrier of the contemporary
• Appendix 1: Beyond Urtext: A Dynamic Conception of Musical Editing
• On notation and time — The urtext era — Urtext editions: an
• epistemological obstacle — Critical editing of music and different
• types of editions — Music editing and performance practice: a
• dynamic conception
• Appendix 2: The Conditions of Creation and the Haecceity of Musical Material: Philosophical-Aesthetic Convergences between Helmut Lachenmann and Gilles Deleuze
• Helmut Lachenmann and Gilles Deleuze: an unconnected
• connection — Helmut Lachenmann: toward an aestheticostructural
• methodology — Helmut Lachenmann’s three “theses”
• on composing — Gilles Deleuze’s diagnostic function of art, capture
• of forces, and body without organs: first convergences with Helmut
• Lachenmann — Helmut Lachenmann’s four conditions of the
• musical material — Gilles Deleuze’s opinion, corporeity, fold, and
• latitude: further convergences with Helmut Lachenmann — The
• conditions of creation and the haecceity of musical material: a
• philosophical-aesthetic Erewhon
• Acknowledgements
• Index