Scholarly reception in music looks at developing dialog and discussion among scholars who are engaged in philosophical and practical analyses of musical experiences. Unlike other philosophical discourses, the difficulty of speaking about music is the difficulty of speaking about a nonrepresentational art form. Music has been discussed in terms of the hard sciences, such as pitch, rhythm, and form, but music has been at best, ignored with respect to philosophical thought. Deleuze is one philosopher who has tackled music straight on. An analysis of the scholarly reception of Deleuze 's influence on music reveals the problem with using language to speak about non narrative topics such as music. I am writing on the scholarly reception of Deleuze
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Hulse and Nesbitt (2010) see two problems with this statement. Deleuze 's thoughts on music were not consistent with his overall philosophical approach. They also feel that there is a need to move beyond Deleuze as he has only scratched the surface of speaking about a non-narrative form. Hulse and Nesbitt (2010) point out that one major problem in the field of music studies is that it is seen separate from other scholarly thoughts. Hulse (2015) critiques Edward Campbell 's idea of how Deleuze is applied to different subjects and in particular, music.1 Hulse posits the question “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?” (Hulse, 2015.) Hulse (2015 states that some people think that there is music that is more Deleuzian than other types and that this is not a defensible position. Rather, Hulse (2015) argues that all music is Deleuzian. Hulse (2015) asserts that Campbell 's ideas of Deleuze and music privileges Western-European music over other types. Campbell (2015) responds to Hulse 's review of Campbell 's article “ 'All Music is 'Deleuzian ' by asserting that he does not share Hulse 's view that the “Deleuze 's relationship with musical modernism is fundamentally …show more content…
I have tried to articulate about musical compositions and how the thought that goes into the actual creating of music unfolds from a primordial abyss to becoming-music. How do we articulate that? It is difficulty, indeed. In my assessment of the authors I have researched, I find that many of them struggle with discussing music in terms of a narrative. For example, Hasty (2010) and Bogue (2003) both start with speaking about musical compositions that are analyzed in Deleuzian terms, but they usually succumb to the problems that are inherent in a nonrepresentational art forms, as they fall back to a discourse on notational techniques, inspiration for musical ideas, or a generalization of the musical genre. This is seen as Bogue (2003) starts out speaking about becoming-music, but soon the discussion is reduced to Messian 's ideas of notational devices. I know that there can be many interpretations on a myriad of subjects, such as music and class, but after reading Grose 's (2012) article, the promise of speaking about becoming- music falls into the common discussion of describing nature in musical terms. It is encouraging that Deleuze takes the position of the artist rather than the position of the audience as much discussion has been devoted to what the listener
Hulse and Nesbitt (2010) see two problems with this statement. Deleuze 's thoughts on music were not consistent with his overall philosophical approach. They also feel that there is a need to move beyond Deleuze as he has only scratched the surface of speaking about a non-narrative form. Hulse and Nesbitt (2010) point out that one major problem in the field of music studies is that it is seen separate from other scholarly thoughts. Hulse (2015) critiques Edward Campbell 's idea of how Deleuze is applied to different subjects and in particular, music.1 Hulse posits the question “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?” (Hulse, 2015.) Hulse (2015 states that some people think that there is music that is more Deleuzian than other types and that this is not a defensible position. Rather, Hulse (2015) argues that all music is Deleuzian. Hulse (2015) asserts that Campbell 's ideas of Deleuze and music privileges Western-European music over other types. Campbell (2015) responds to Hulse 's review of Campbell 's article “ 'All Music is 'Deleuzian ' by asserting that he does not share Hulse 's view that the “Deleuze 's relationship with musical modernism is fundamentally …show more content…
I have tried to articulate about musical compositions and how the thought that goes into the actual creating of music unfolds from a primordial abyss to becoming-music. How do we articulate that? It is difficulty, indeed. In my assessment of the authors I have researched, I find that many of them struggle with discussing music in terms of a narrative. For example, Hasty (2010) and Bogue (2003) both start with speaking about musical compositions that are analyzed in Deleuzian terms, but they usually succumb to the problems that are inherent in a nonrepresentational art forms, as they fall back to a discourse on notational techniques, inspiration for musical ideas, or a generalization of the musical genre. This is seen as Bogue (2003) starts out speaking about becoming-music, but soon the discussion is reduced to Messian 's ideas of notational devices. I know that there can be many interpretations on a myriad of subjects, such as music and class, but after reading Grose 's (2012) article, the promise of speaking about becoming- music falls into the common discussion of describing nature in musical terms. It is encouraging that Deleuze takes the position of the artist rather than the position of the audience as much discussion has been devoted to what the listener