Overview and details of the sessions of this conference. Please select a date or location to show only sessions at that day or location. Please select a single session for detailed view (with abstracts and downloads if available).
Please note that all times are shown in the time zone of the conference. The current conference time is: 6th Oct 2022, 01:01:32pm CEST
Deleuze’s and Guattari’s Philosophic Ontology: Reflections on Music Analysis
Timo, Juhani Laiho
University of Helsinki, Finland
My presentation introduces how the fundamental concepts of Deleuze’s and Guattari’s philosophy – such as “difference ‘in’ itself”, interplay between “virtual and actual”, temporal “becoming”, and formation of “milieu and territorial structures” – can fruitfully be adapted into music analysis. This adaptation calls for a new kind of music analytic approach and forms the framework of Analytic-Generative Music Analysis (AGM), which I introduced in my doctoral thesis (2013). The structure of AGM focuses particularly on how musical structures are organized from the viewpoint of perceptual experience by paying attention particularly the temporal organization of the musical surface.
The key problem in many art studies, and also in the field of music analysis, has thus far been the lack of concreteness in relation to analytic findings. This means that analysis itself with its methodological tools has remained far too conceptual level, touching neither perceptual nor cognitive ground of the art work. In my presentation, I will show,
1) how the computer programmed analytic tools of AGM, in relation Deleuze’s and Guattari’s ontological concepts, provide more effective way to analyse the concrete, perceptual differentiation of the musical surface,
2) how this kind of analytic framework also produces simultaneous creative possibilities in the field of musical composition,
3) and how AGM-analysis – in which the analytic tools are temporally related essentially to non-local determinations – is via Deleuze’s and Guattari’s ontology also connected with issues related to modern physics, David Bohm’s implicate order theory and theories of mind and consciousness.
Timo Laiho, PhD (b. 1957), is a composer and music theorist/analyst. He is graduated from Sibelius Academy in composition and music theory (Helsinki, Finland), and from Musicology in the Department of Philosophy, History, Culture and Art Studies, University of Helsinki (Finland). He is presently working as senior lecture in Musicology, Department of Philosophy, History and Art Studies, University of Helsinki (Finland). His main interests in addition to composition and music theory/analysis are post-structural philosophy, modern physics, David Bohm’s implicate order theory, semiotics, cognitive science and theories of mind and consciousness.
4:30pm - 5:00pm
Exploding the refrain of trust
Institute for Philosophy and Social Theory, University of Belgrade, Serbia
The most trustwothy of all melodies is that of the refrain (ritournelle). It comforts the listener and/or the performer, by faithfully fulfilling its expectations. The refrain is a simple, repetitive, and above all, predictable melody. It is that little song, that a child twitters to itself when scared of the dark and in search for comfort (A Thousand Plateaus). The refrain is a point of stability and certainty that brings order into chaos. Not merely sonorous, refrains are also optical, narrative, gestural... They circumscribe territories and organize space by expressing codes, on the one hand, and on the other, produce, on the basis of their rhythm, the consistency of time. The cosmos seems to build itself on refrains.
Departing from the assumption that trust is the fundamental feature of becoming human and the foundation of all societies, we will put to the test the argument that, in capitalism, trust represents the territoriality of all territories, the condition of defining territories. Furthermore, we will show how the refrain is a constitutive concept for understanding trust. Without the refrain there is no trust, because it defines the ontological catergory of “at home”, which is the basis of all certainty. Is then the refrain a purely fiduciary concept? We could claim the opposite, by proposing that one ventures from home on the thread of a tune, bursting the circle of the refrain by improvisation, thus reaching different sonorities which resonate perhaps with what is to be called a distrustful thought.