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Edward Campbell (2013) Music after Deleuze , London: Bloomsbury

Edward Campbell (2013) Music after Deleuze , London: Bloomsbury Book I. All Music is `Deleuzian' Music after Deleuze is a pedagogically orientated text and part of a series of volumes Deleuze Encounters (with Ian Buchanan as Series Editor) whose stated objective is to `provide students in philosophy and related subjects with concise and accessible introductions to the applications of Deleuze's work in key areas of study'. Each volume is named `_ after Deleuze' which immediately gestures towards a central problem in how Deleuze is applied to a subject: has (or will) the emergence of Deleuzian thought produced a significant articulation in the matter under study itself (in this case music), or is the principal project to rethink the paradigms and ideologies which scholars/audiences bring to the subject? Does musical production, once armed with the technologies of Deleuze and Guattari, `change' after Deleuze, or is it our understanding of music that is changed or ought to change? Although this problem is not stated explicitly by Campbell, the orientation of Music after Deleuze is decidedly of the first sort. Campbell states `The composers whose music and ideas work most within Deleuzian terms are those who first molecularise, deconstruct or dissolve existing musical material, who attempt to empty it of http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Deleuze Studies Edinburgh University Press

Edward Campbell (2013) Music after Deleuze , London: Bloomsbury

Deleuze Studies , Volume 9 (1): 137 – Feb 1, 2015

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References (2)

Publisher
Edinburgh University Press
Copyright
Edinburgh University Press
Subject
Book Reviews; Philosophy and Religion
ISSN
1750-2241
eISSN
1755-1684
DOI
10.3366/dls.2015.0177
Publisher site
See Article on Publisher Site

Abstract

Book I. All Music is `Deleuzian' Music after Deleuze is a pedagogically orientated text and part of a series of volumes Deleuze Encounters (with Ian Buchanan as Series Editor) whose stated objective is to `provide students in philosophy and related subjects with concise and accessible introductions to the applications of Deleuze's work in key areas of study'. Each volume is named `_ after Deleuze' which immediately gestures towards a central problem in how Deleuze is applied to a subject: has (or will) the emergence of Deleuzian thought produced a significant articulation in the matter under study itself (in this case music), or is the principal project to rethink the paradigms and ideologies which scholars/audiences bring to the subject? Does musical production, once armed with the technologies of Deleuze and Guattari, `change' after Deleuze, or is it our understanding of music that is changed or ought to change? Although this problem is not stated explicitly by Campbell, the orientation of Music after Deleuze is decidedly of the first sort. Campbell states `The composers whose music and ideas work most within Deleuzian terms are those who first molecularise, deconstruct or dissolve existing musical material, who attempt to empty it of

Journal

Deleuze StudiesEdinburgh University Press

Published: Feb 1, 2015

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