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Ontological Appropriation: Boulez and Artaud | EX0-100 Latest Topics and PDF Download

In his 1963 article ‘Dire, jouer, chanter’, Pierre Boulez (1925–2016) explained his use of certain exotic sounds in Le Marteau sans maître. ‘I chose this “physique” of instruments with the affect of additional-European civilizations’, he wrote: ‘the xylophone transposes the African balafon, the vibraphone refers to the Balinese gender, and the guitar recalls the eastern koto’.Footnote 1 The composer insisted, although, that ‘neither the style nor the very use of those gadgets is linked in any method to the traditions of those distinctive musical civilizations’.Footnote 2 Boulez didn't need to symbolize the music of peoples backyard Europe as an ethnologist may when organizing artefacts into a colonial exhibition. fairly, as soon as purified of context, these sounds would ‘enrich the eu sonic vocabulary via added-European listening’, and, Boulez hoped, have a clean and estranging impact on the listener aware of natural western timbres. With this stream, Boulez additionally hoped to sever his chosen sounds and harmonies from the ancient baggage of the classical tradition, and thus to amplify the presence of song in its second. during this endeavour he took a cue from the creator of the Theatre of Cruelty. ‘music should still be collective hysteria and enchantment’, wrote Boulez in 1947, ‘violently up to date – following the path of Antonin Artaud, and not a simple ethnographic reconstruction in the picture of civilizations greater or much less remote from us’.Footnote 3

What does it mean for a composer to take sounds from the ethnographic other without ‘reconstructing’ the other? this article will argue that Boulez's endeavour to aestheticize the ‘hysteria’ he perceived in the lifestyle of the other was a moment of ontological appropriation, turning the different into sound. Composers of paintings song had lengthy sought sparkling patterns and new sounds by using reconstructing a non-European different, whether through Mozart's imitations of Turkish track, the exoticized characters of Bizet's Carmen, or the rhythmic counterpoint that drew Debussy to Javanese Gamelan. I suggest that these endeavours to imagine and to appropriate ‘further-European’ sounds grew to be principally ‘ontological’ by way of the mid-twentieth century. Boulez's aim became no longer to reconstruct a specific other. reasonably, sound became the other: it emanated from someplace abnormal and primitive, carrying a visceral immediacy that may be leveraged to puncture the façade of western musical meaning. Boulez sought a compositional formula that might, to make use of his own time period, render sound impartial: a sonic shade in place of a musical sign; a ‘pure’ great as opposed to a representation.Footnote 4 i will be able to argue that Boulez's compositional method prefigured fresh claims on behalf of the ontology of sound: that sound can put us in contact with a global greater actual, or most likely that sound simply is the precise. This look for pure sound, a ordinary refrain of twentieth-century musical modernism, is, and at all times has been, inherently ethnocentric. it's a process of making sound ontological.

while the question of otherness is seldom addressed in scholarship on Boulez, it is apparent that his experience of sound developed as he reconstructed ‘added-European’ expressions in sonic form.Footnote 5 within the first element of this article, i use Artaud as a foil to explore how Boulez's conception of musical writing – or écriture, his medium to write sonic ‘hysteria’ – took shape as he distilled and sublimated otherness. while Boulez credited Artaud with forging a method of expression that might re-create ‘collective hysteria and enchantment’ with out aspiring to realist ethnographic illustration, the composer endeavoured to push Artaud's expressive trend beyond what even the theatre guru had performed. For Artaud commonly mentioned the sources of his ‘delirium’: he mimicked the rituals of the Rarámuri tribe of Mexico, infusing his performances with cries, gasps, and ululations, a method of vocal performance that neatly captured, as Boulez put it, ‘the fundamental preoccupations of tune today’.Footnote 6 Boulez's exoticism, by contrast, was extra veiled: rather than observe Artaud to intensify the alterity of the different, Boulez sought as an alternative to purify or occlude otherness, a stance that will also be seen as continuous with surrealism.

The approach Boulez took to sound may well be referred to as ‘ontological’ as a result of he handled sound as anything extra ‘actual’ – more evocative and robust – than the rest that had been, or may well be, expressed during the normative musical languages of the western lifestyle. In what follows, i'll first suggest that Boulez's philosophy of writing hinged on an ideological distinction between ‘the West’ and the leisure, and then will observe the composer to South the usa with the Compagnie Renaud-Barrault to listen to how he filtered sounds from an ‘additional-European’ supply that he under no circumstances recounted outright: Afro-Bahian Candomblé. i'll indicate that Boulez modelled the poetics of one circulation of Le Marteau sans maître, the ‘Commentaire I de “Bourreaux de solitude”’, on the ritual of spirit possession he witnessed in Bahia in the enterprise of actor and director Jean-Louis Barrault (1910–94). in contrast to Barrault, who claimed that the Candomblé embodied the essence of Greek tragedy, Boulez neither wanted nor cared to show the Candomblé into an allegory for an original western essence. The ‘delirium’ of Candomblé practitioners within the throes of real spasms and amid abrupt vocal utterances – the types of experiences that Artaud emulated without delay – took sonic form in Le Marteau. As Boulez modelled the ‘Commentaire’ on a fictive narrative of spirit possession, I imply, sound became an allegory, a determine for an normal essence and a kind of elemental force.

Boulez's sounds are still with us these days. Following Christoph Cox or Nina sun Eidsheim, one might argue that a supra-audible ‘sonic flux’ or fact of vibrating remember exists beyond human belief, a virtual floor for the sounds that we actualize once we make song.Footnote 7 The concluding component to this article suggests that each pupil who holds that sound is a hyperlink to the actual, to a truth past or behind what we will be aware of and symbolize, implicitly relies on a suggestion of sound as allegory – a inspiration that hyperlinks sound stories to Boulez and a gaggle of his contemporaries in France. This angle against sound, often touted as a means to suppose beyond entrenched West-versus-East and Self-versus-other dualisms, dangers re-inscribing these dualisms on an ever-deeper stage. The difficulty is not with pondering imaginatively about sound, but with the philosophical conception that guides scholars to take sound as an allegory for certainty and truth: ontology.Footnote eight

The term ‘ontology’ has enjoyed a resurgence of late as a marker of a sort of cultural relativism following the ‘ontological turn’ in anthropology and as an alternative choice to ‘aesthetic autonomy’ in sound reviews. despite the fact, i'm not satisfied that the thought of ontology can also be purged of its historical past as a ‘philosophy of vigor’, to cite a phrase from Emmanuel Levinas.Footnote 9 The very thought of ontology presupposes a relation between the knower and the widespread such that the customary entity, with the aid of becoming an object of potential and a determine of western writing, loses its alterity.Footnote 10 Levinas coined the time period ‘ontological imperialism’ to describe the grasping egotism during which ‘the West’ constitutes itself by first imagining and then incorporating the different.Footnote 11 To the extent that Boulez tried to transmute ‘additional-European’ sounds into the realm of musical writing, he became an ‘ontological imperialist’. He constituted an idea of sound, not by using representing the other as different, however by means of subsuming the different into the same. latest scholarship, too, treats sound as a determine of radical alterity, yet sonic allegory becomes a method to bolster scholarly authority. the search for ‘pure’ sound has an unacknowledged modernist heritage.

Boulez, Artaud, and the ethnographic different

‘by the point he turned into eighteen’, biographer Joan Peyser writes, ‘Boulez had became in opposition t his father, his nation, and every thing else that had been held as much as him as sacred … . He repudiated Catholicism, spouting Latin obscenities when he became inebriated … he certainly not studied below anybody man for any size of time, “detesting the daddy-son relationship”.’Footnote 12 whereas this phase of Boulez's early life naturally had a powerful Oedipal dimension, it become Boulez's defiance of the role of the non secular Father in French society that made him so receptive to Artaud's cries, shouts, and profane challenges to God's judgement.

As Edward Campbell, Peter O'Hagan, and François Meïmoun recount, Boulez saw Artaud study his personal texts at Paris's Galerie Loeb in the summer of 1947, witnessing the dramatist performing the types of vocal expressions that would be recorded through the Radiodiffusion Française later that year.Footnote 13 the published Pour en finir avec le jugement de Dieu (recorded in November 1947) files Artaud right through a duration of swift real decay following a sequence of electroshock remedies administered in opposition t his will at the Rodez asylum (1943–46).Footnote 14 The forty-minute broadcast consists of readings of Artaud's texts by way of the author himself, his chum (and later literary executrix) Paule Thévenin, and the actors Maria Casarès and Roger Blin. Censored through Radiodiffusion Française (RDF) simply earlier than its optimum in 1948 (due in gigantic part to Artaud's inclusion of anti-American rhetoric, ill-timed within the wake of the struggle), Pour en finir makes it possible for us to hear the voice that Boulez experienced reside that summer.Footnote 15 In his opening unaccompanied monologue, Artaud shouts in his high register: ‘I realized yesterday’, and then pauses. His pacing deliberate, his rasping voice swooping low, he describes ‘one of the most sensational reliable practices of public American faculties’: a ‘sperm verify’ by which all younger boys are required to supply sperm for the government to build an artificial military. the united states not most effective manufactured people, but additionally warships and plastic buyer products, inaugurating ‘le règne … de tous les fake produits fabriques’ (‘the reign of fake fabricated items’) and replacing every thing herbal with ‘les ignobles ersatz synthétiques’ (‘lousy ersatz synthetics’). These words come at the end of a sequence of brief phrases wherein Artaud crescendos, charging the textual content with belligerent vocal expressions. On fabriques, his voice quivers as if a mocking chortle; on les ignobles ersatz, he tightens his throat, pushing air with colossal energy to produce a guttural growling; and before the last syllable of synthétiques, he pauses as if out of breath, isolating the closing ‘-que’, a percussive click, from the rest of the phrase. Artaud believed within the song of spoken utterance, in the voice's skill to create which means through its personal contours, from time to time bolstering the literal that means of a textual content or – during this case – working towards the meaning of the words (‘fabriques’, ‘synthétiques’).Footnote 16 He rails in opposition t an ersatz, artificial American warfare machine and then introduces a contrasting determine: ‘i really like most the individuals who consume off the very earth the delirium from which they are born.’ His voice shivers; he blurs ‘la terre’ (earth) to sound like ‘le délire’ (delirium); he whispers: ‘I speak of the Tarahumaras … . for this reason you'll hearken to the dance of the Tutuguri.’Footnote 17

The collective enchantment that enthralled Boulez turned into for this reason carried out in the course of the rites of the Rarámuri of the Sierra Tarahumara, whose peyote rituals, Artaud claimed, printed a primordial state of being. After a silence, the next portion of Pour en finir starts off as Artaud screams, a pair of drums and a gong accompanying his ululations as he soars into his excessive higher register. This crude ‘ethnographic reconstruction’ of a primitive ritual appears to account, looking back, for the stammering articulations and lengthy drawn-out pacing of the printed so far: Artaud speaks as if in a trance. Casarès then enters to study the ‘Dance of the Tutuguri’ textual content, her enraptured voice vibrating as Artaud's shouts proceed. This textual content describes a ritual during which six Rarámuri guys, each symbolizing a solar, surround a seventh who races throughout a primordial land nude upon a horse. The dance culminates with the letting of blood and the ripping of Catholic crosses out of the Mexican soil.

For Boulez, Artaud's alternation of words with ‘shouts, noises, or rhythmic consequences’, and his effort to push vocal utterance beyond what any written textual content can deliver, felt like an affirmation of the emerging musical language that the composer became within the method of conceptualizing and inserting into follow. ‘i am not qualified to focus on Antonin Artaud's use of language’, he wrote,

however i will be able to study in his writings the simple preoccupations of music these days; listening to him read his own texts, accompanying them with shouts, noises, or rhythmic results, has proven us the way to have an effect on a fusion of sound and observe, how to make the phoneme burst forth when the notice can no longer achieve this, briefly a way to arrange delirium.Footnote 18

Boulez's efforts to ‘take delirium and, yes, organize it’, youngsters, masked Artaud's express exoticism. in all probability we will hear anything of Artaud's ‘shouts, noises, and rhythmic effects’ within the musical language that Boulez forged in his Piano Sonata no. 2 (1948), written after Boulez heard the raving dramatist in grownup.Footnote 19 throughout the climax of the fourth and final flow, Boulez prompts the performer to ‘pulverize the sound’ in a brief passage composed of a speedy-fire succession of quavers and semiquavers leaping between the severe high and low registers of the piano – rhythmic consequences. This harried lower back-and-forth motion culminates with abruptly attacked chordal clusters – shouts – earlier than a collection of connected pitches within the left hand (marked ‘Élargir rapidement’: increasing at once) winds upwards against a group of descending dyads in the extreme excessive latitude – noises. Boulez instructions the pianist to play ‘in a really robust coloration’, to sound ‘exasperated’, commencing an extra phrase of leaps.

Boulez put little inventory in verisimilitude, refusing musical ‘issues’ that his listeners or critics may have taken to signify images or scenes in a narrative mode. but however he downplayed the representational feature of song – just as he disdained ‘fundamental ethnographic reconstruction’ – Boulez's musical gestures were frequently visceral, worrying an identification between his listeners and performers on a corporeal level. His early pianistic language may now not ‘represent’, but actually gifts rapid leaps, sweeps, and chordal clusters, modes of assault that had been part of the composer's endeavour to forge a new form of musical journey – a pianism in any other case.

Boulez's idea of écriture, the French time period that connotes not only literal inscription however additionally the symbolic reasoning at the back of it,Footnote 20 took form via a compositional follow that consisted of creating contrasts similar to that between the leaping attacks of the Piano Sonata no. 2 – during which pitches seem to be either isolated or slammed collectively – and moments by which successive notes are smoothly linked into lyrical fragments. Boulez's musical language consisted of opposing facets like this, a dialectical method to timbre and phrasing that Jonathan Goldman describes via various binaries: determine versus structure (i.e., part versus whole), chord-figure versus interval-scale (i.e., ‘chord’ versus ‘scale’, or vertical versus horizontal development), and clean versus striated time – the record goes on.Footnote 21 Boulez owed this approach partly to the voice that we are able to hear in Pour en finir. Rasping and low in a single second, then quietly drawing breath; suddenly shouting and leaping into the falsetto; eventually slowing, stuttering, gasping out of breath: this voice is a mannequin also for the sonic palette of the Livre pour quatuor (1948–forty nine, 1959–60).Footnote 22 With each circulate structured around a contrast between longer resonant tones and brief percussive attacks, the violent oppositions of vocal sounds echo in ever extra abstract kind.Footnote 23 the first four bars of flow 1b of the Livre, as an example, function a collection of intervallic leaps, beginning within the viola and echoed by way of the violin, which maintain lengthy tones within the upper register against a quiet cello assault below, pizzicato. After a fermata, the second short phrase is abrupt, the cello rushing upward to satisfy the trills and pitch clusters in the violins

Scholarly writing on Boulez, which seldom addresses the question of otherness, is frequently caught in a hermeneutic ‘double bind’. by means of approaching the tune as an object that requires laborious decoding (searching for the tone rows and tracing their genealogies, for example), we perhaps omit a few of its most magnificent characteristics.Footnote 24 One doesn't need to listen ‘hermeneutically’ to listen to that the ethnographic other is comfortably there within the track; yet when we delve underneath the floor for compositional methods and deep buildings, the other vanishes. this is a problem that appears to haunt stories of Boulez (and, greater commonly, of serialism): the rigorous strategies employed in creating this music seem to demand decoding, as if there is at all times a hidden order behind each musical utterance. but precisely once we have interaction in decoding, the tune's ‘otherness’ is concealed.

This double position, i want to suggest, was part of Boulez's assorted mode of appropriation. In distinction with Artaud, who sought to present the ‘added-European’ as radically other, Boulez sought to occlude difference, and musical writing became his medium to do so. This mode of appropriation involved a specific angle against sound and writing that Boulez received partly through Artaud, however additionally through a bigger stream of which Artaud turned into – as a minimum in the beginning – an element. even though he broke from the professional surrealist community led through André Breton (1896–1966) in or about 1926, Artaud retained anything of the surrealist angle against cultural order and meaning. This angle had to do with re-assessing ‘the West’ in the case of its newly exhibited others: as James Clifford has suggested, the artefacts imported from France's colonial possessions indicated – to Breton and to other surrealists – that ‘lifestyle and its norms – attractiveness, truth, fact’ were in simple terms ‘synthetic arrangements, vulnerable to indifferent analysis and assessment with other viable inclinations’.Footnote 25 indifferent analysis and evaluation had been primary in the rising ‘ethnographic surrealist’ view of cultural order – a view in accordance with which western culture is basically an arbitrary collection of signals able to be reconfigured and jumbled like objects on screen in an ethnographic museum. We may name the surrealist mode of appropriation, then, a symbolic mode, since the poet turned into to interact with society's signals on a second-order degree of remark: fragmenting and juxtaposing verbal signifiers so as, as Breton as soon as quipped, to widen the gaps ‘between the words’. during the hodgepodge good judgment of the dream, Breton's surrealism aimed to re-acceptable society's signs to new expressive ends.Footnote 26

while 2d-order reflection on culture and its signs changed into an important factor of the ethnographic surrealist outlook, Artaud took a special tact: the ‘added-European’ appears to have impelled him to accentuate the first-order intestine reactions you possibly can have within the presence of performance. Artaud's mode of appropriation might most efficient be termed an affective mode because of the emphasis he positioned on bodily immediacy: he sought to plunge headlong into the unconscious abyss that Breton's surrealism unfolded ‘between the phrases’. ‘it's standard to position an conclusion to the subjugation of the theater to the textual content’, Artaud declared in his 1932 Manifesto of the Theater of Cruelty, ‘and to recover the notion of a sort of pleasing language half-way between gesture and concept’.Footnote 27 The sound of Artaud's voice, echoing in Pour en finir, gives us a way of how this language become to work. words develop into gesture during the act of enunciating them with surprising shouts, leaps, and screams – that is, by filling the gaps ‘between the phrases’ with sound. The normative written systems of western theatre have been for this reason insufficient to manage to pay for the variety of expression that Artaud sought to make available. The movements and utterances of Artaud's choicest theatre would are living only for a moment, beyond what could be written and repeated from analyzing a script; hence, ‘let us go away textual criticism to graduate college students, formal criticism to esthetes’, he exhorted, ‘and admire that what has been spoke of isn't still to be noted … that every one phrases, once spoken, are useless and function best at the moment when they are uttered’. here is why ‘the theater is the simplest vicinity on the earth the place a gesture, as soon as made, can never be made the equal method twice’.Footnote 28 At stake for Artaud became the competition that the tradition of the West had been dominated via a theological metaphysics based on which life on the planet – like the movements on a stage – are subordinate to an fashioned presence, the Divine observe contained in the texts of the Bible, or the theatrical observe written in a phonetic script. ‘Cruelty’ no longer handiest supposed engulfing viewers in a sensory barrage – producing the types of visceral gestures that we are able to hear, for example, when Boulez's pianist ‘pulverizes the sound’ – however additionally demanded a dedication to staying as close as feasible to the limit of representability.Footnote 29 in place of confront society on the degree of its representations, Artaud dreamed of a pure presence, an incredible of immediacy and un-representability. hence the Theatre of Cruelty, in Jacques Derrida's phrases, will be the artwork of ‘pure presence as pure difference’: it would move like a language, carrying a signifying force, yet with out forming iterable indications.Footnote 30 Producing an all the time-renewed impact of presence, a merciless theatre would searching for to elide the circulation and mechanisms of re-presentation.

but, like Boulez, Artaud necessary writing. As we now have already considered, ethnographic reconstruction turned into a part of how the dramatist enacted his ‘pure presence’, and he predicted Boulez's own look for a brand new variety of writing that could organize the delirium that Artaud alleged to emanate from Mexico or in different places. Artaud saw a vision of this new writing when he witnessed Balinese theatre on the 1931 Exposition coloniale held in the forest of Vincennes backyard Paris. There, the French executive hosted corporations of americans from Africa, Oceania, West India, and different colonies to exhibit arts, to make food and crafts – including the Oceanic artefacts that involved Breton – and to operate tune and dance just like the Balinese spectacles that Artaud witnessed, claiming that the Balinese embodied ‘the thought of pure theater’.Footnote 31 it is unclear (to us) what Artaud really saw at the Exposition, although he wrote of Balinese theatre as if it was a collage of ritualistic actions, song and poetry, costume and different visible features – all acting before his eyes as a form of hieroglyphic writing. These ‘religious signs’, he declared, ‘[strike] us best intuitively but with adequate violence to make unnecessary any translation into logical discursive language’.Footnote 32 The non-phonetic writing of Artaud's most effective theatre would prepare configurations of our bodies and objects, mapping out events; as a consequence it will silence the voice of the absent creator-creator, all in an endeavour to approximate the immediacy of ‘chinese ideograms or Egyptian hieroglyphs’. in preference to inscribe communicate, staging directions, and so on, this writing would without delay deal ‘with objects … like photographs, like phrases, bringing them together and making them respond to every other’.Footnote 33 however, while this new non-phonetic writing would pass the written voice of the author, it will no longer silence the voice of the actor. far from it: Artaud insisted that the hieroglyph would supply a brand new vicinity to voice, to the real embodied voice onstage, for the reason that vocal sounds would now not be texted, reproducible, and representable. He dreamed of a radically other voice.

Boulez stood at a distance from the symbolic and affective modes of appropriation that characterised Breton's surrealism and Artaudian cruelty, but, as I even have cautioned, Artaud's vocal sounds continued to echo beneath Boulez's pen. we can hear how Boulez entextualized the ‘delirium’ that he heard in Artaud into an abstract musical language.Footnote 34 however whereas the composer aimed to provide surprising first-order intestine reactions through musical violence, he additionally reflected – in published essays and later lectures – on the procedures in which this violence could be produced. He sought a strategy wherein to build upon the ‘pure presence’ of Artaudian expression, taking on Artaud's aesthetic superior into an incredible musical writing. With the emphasis he positioned on writing and constitution, hence, Boulez located himself as part of a lineage of French artists and intellectuals leading from the ethnographic surrealist second of Paris's interwar years towards the mid-century, by which colossal theoretical weight became connected to the proposal that lifestyle is written. The surrealist conviction that splendor, reality, and truth are mere products of symbolic preparations laid the groundwork, as Clifford cautioned, for the ‘semiotic’ view of cultural order that you can still read, as an instance, in Roland Barthes's famous claim that ‘every thing will also be a myth, offered it is conveyed by using a discourse’. If subculture is a collection of indications, then styles of discourse – ‘modes of writing or of representations; now not most effective written discourse however additionally photography, cinema, reporting, sport, suggests, publicity’ – inevitably entwine themselves with energy.Footnote 35 Artaud, in looking for a kind of vocal utterance beyond the ‘legendary speech’ that had upheld bourgeois normativity, gave a selected privilege to sound as a automobile of transgression – here is the sort of sound we can hear in Boulez.

Boulez's stance towards sound turned into imminently surrealist since it was a musical response – albeit a very abstract response – to the transgressive aesthetic put forward throughout the surrealist years. As Clifford wrote, ‘the exotic [was] a prime courtroom of enchantment in opposition t the rational, the beautiful, the normal of the West’, enabling thinkers within the surrealist camp such as Georges Bataille – heir of a transgressive avant-garde spirit that dates back at the least to Baudelaire – to deconstruct the hallowed beliefs of western lifestyle by way of claiming that each cultural norm incorporates and conceals its obverse. Tonal harmony, on this view, is one European social fantasy amongst others, tired and two-confronted: confront tonal harmony with its different – dissonance – or confront respectable with evil, piety with perversion, and you possibly can see that each norm consists of the seeds of its own dissolution. This valorization of transgression, in Clifford's phrases, ‘[provides] a vital continuity in the ongoing relation of cultural analysis and surrealism in France’. The existing article is intended as an entryway to verify the role that track and sound played in setting up this transgressive aesthetic – an aesthetic that hyperlinks ‘the twenties context of surrealism appropriate to a later technology of radical critics’.Footnote 36 The jumble of non-European signals introduced at colonial exhibitions (and later housed within the Musée de l'Homme) now not most effective prefigured the semiotic view of cultural order in vogue by Derrida's day, but also advised that new and violent sounds – ‘shouts, noises, and rhythmic effects’ – might echo from between the cracks in western cultural which means. via releasing a move of speech through surrealist automated writing, or by shouting, stuttering, and speakme in tongues, sound grew to become ‘different’: that which resounds past the norms of pictorial and linguistic illustration, ‘between the phrases’. hence the free play of signals was no longer only Oriental, however was especially sonic. this is the Artaud that Boulez discovered so eye-catching:

[B]y an altogether Oriental ability of expression, this purpose and concrete language of the theater can facilitate and ensnare the organs. It flows into the sensibility. abandoning Occidental usages of speech, it turns phrases into incantations. It extends the voice. It makes use of the vibrations and features of the voice. It wildly tramples rhythms underfoot. It pile-drives sounds … . It eventually breaks far from the intellectual subjugation of the language, through conveying the experience of a new and deeper intellectuality which hides itself underneath the gestures and signals, raised to the honor of selected exorcisms.Footnote 37

Ontological appropriation

In his disavowal of ‘ethnographic reconstruction’, we will experience that Boulez distanced himself from Artaud at the same time as he drew idea from the theatre theorist. The ethnographic different turned into not a beneficial choice to ‘the West’ for Boulez. besides the fact that children, as i am hoping to exhibit, Artaud and Boulez every participated within the mutual development of ‘the West’ as opposed to ‘the rest’, an opposition that undergirded every artist's standard views about their respective media – theatre and tune. Boulez's mode of appropriation changed into ontological as a result of he aimed to reconstruct the ‘hysteria’ of the different at an ontological eliminate from any particular individuals or vicinity. He whitewashed ‘further-European’ sounds in an endeavour to create what he referred to as ‘pure sounds – fundamentals and natural harmonics’ that could be subsumed inside a musical textile.Footnote 38 This process of purification become always a part of Boulez's stance in opposition t sound, a part of his personal transgressive modernist aesthetic. Yet, as this area will demonstrate, the look for a brand new form of écriture tied Boulez and Artaud to a an awful lot older, and explicitly ethnocentric, philosophy of writing.

In apply, Boulez's écriture became a medium to arrange delirium, and in conception, too, écriture hinged on a difference between individualized sound and neutral sound, itself a species of a greater conventional dichotomy between a western self and the ethnographic different. ‘The greater a sound has fantastic individual features, the much less conformable it will be to different sounding phenomena’, as an alternative ‘[preserving] its personal particular person profile’, stated Boulez in a 1994 lecture on the Collège de France.Footnote 39 in this he echoed a trope that he had voiced a good deal previous in a 1949 preface to John Cage's Sonatas and Interludes. Expressing a deep recognize for Cage's use of ‘non-tempered sound spaces’ in addition to ‘sound complexes’ in his experiments with the organized piano, Boulez then again advised (quite subtly on the time) that his American correspondent turned into barking up the incorrect tree.Footnote 40 Cage didn't produce pure sound, relying as a substitute on the individualized features of sounds made from placing bits of metallic, screws, and paper clips amid the piano strings. This endeavour, inspiring and fresh notwithstanding it become for the younger Boulez, sooner or later constituted a regression in musical thinking. In a 1972 conversation with Célestin Deliège well after Boulez and Cage parted ways, Boulez aligned Cage's use of individualized sounds with the twanging and buzzing of the African sanza (or mbira): ‘in the music of some African peoples (not the most highly-developed from the musical point of view) we locate an instrument, the sanza, that has vibrating blades [which] may make up a impartial universe – they kind a scale it is fastened and modal, as all African scales are.’Footnote 41 without the mutes and resonant rings that mbira players attach to the vibrating blades, the sounds of the blades ‘could’ be neutral, simply as the notes of a piano are impartial earlier than a composer inserts particles between the strings.

Boulez's point out of an African instrument bespeaks the composer's pastime in non-European contraptions, an activity that he developed reasonably early in his musical existence as he honed his composerly talents by transcribing musics from outdoor Europe – a practice that definitely counseled Boulez's view of individualized versus impartial sound. during the summer of 1945, whereas a student at the Paris Conservatoire, Boulez heard Balinese tune in a class with Olivier Messiaen, and as he would later account, ‘dreamed, for a moment, of that specialize in musicology: no longer in the examine of texts, but in ethnomusicological investigation in reference to a department of the Musée de l'Homme or the Musée Guimet’.Footnote forty two This was no longer just a dream: after being attentive to discs of numerous non-European musics, Boulez planned to go on an ethnological day trip to Cambodia and Laos hosted by way of the Musée Guimet in 1946, a voyage at once cancelled as the First Indochina battle broke out that winter.Footnote forty three In training, despite the fact, Boulez transcribed various songs together with a ‘Laotian track of possession’ for two voices.Footnote 44 This became an ethnographic reconstruction in the most literal experience: according to Luisa Bassetto, the composer seemingly jotted down this music – in addition to others from Cambodia and Cameroon – rather directly, in all probability as a part of a dictation check prior to the ethnographic voyage.Footnote 45 Transcriptions like these are exactly what the Boulez of 1947 would renounce as Artaud's voice rang in his ears. with ease reconstructing (i.e., transcribing) the sounds of ‘additional-European’ ritual or spiritual observe didn't go far ample for the restive composer, who in the end did not are searching for ethnomusicological capabilities for its own sake, but reasonably for the sake of expanding the timbral and rhythmic percentages obtainable in new music.

Boulez adopted (by way of default) a Eurocentric view according to which musical writing enables for a degree of abstraction and sophistication unknown in cultures that lack a written musical system, and his transcriptions of these songs provide us a hint about what neutral sound came to mean for him. whereas the recordings housed in ethnographic collections – including those of André Schaeffner, whom Boulez would meet in 1949 and with whom he would correspond for just about two a long time – exerted a particular allure for the composer, he became most attracted to exploring what a music of spirit possession could develop into throughout the act of transcribing it and researching its written kind. while Cage (from Boulez's standpoint, anyway) possibly would have believed that the specific traits of sounds – Laotian or otherwise – have been interesting enough on their own, Boulez felt that simply letting sound be sound (to paraphrase a well-worn Cage-ism) become insufficient. Sound had to circulate throughout the medium of écriture – Boulez's medium – to in reality become music. there is perhaps no superior summation of Boulez's take on the change between his and Cage's approaches to sounds – and, for our functions, of Boulez's own experience of the difference between individual and impartial sounds – than his statement in the 1949 Cage essay: ‘Noise does certainly have a very terrific instant real impact, however using here is dangerous, for the reason that its novelty hastily wears off’.Footnote forty six Noise can strike us powerfully, but most effective so many times. Buzzing and twanging are insufficient. in order to keep the instant real impact of noise, in all probability to base a musical language on its visceral presence, a composer must put sound via écriture.Footnote forty seven

For Boulez, Cage's strategy to sound became no longer most effective mistaken; it became primitive. ‘In that kind of musical civilization’ – Africa – ‘and with an instrument of this type’ – the mbira – ‘the system has each justification’: these civilizations are fundamental.Footnote forty eight but it surely would be unjust and ‘contrary to the whole evolution of track’ for a ecu composer ‘to delimit an instrument within enormously average and individualized qualities, considering that we're relocating more and more within the course of relativity’, it truly is, in opposition t rendering sound neutral.Footnote 49 handiest impartial sounds will also be subsumed right into a broader texture, enabling their ‘actual’ individuality to ring.

Of path, Boulez's certain approach to sound evolved: the violent gestural language of the Deuxième sonate, the gadget of total serialism wherein Boulez composed structures I (1952), and the computers in use at IRCAM two decades later, represent diverse moments in Boulez's construction – he changed into at all times on the circulate. Yet, despite the quite a few techniques that Boulez cultivated, his basic view of sound and writing appears now not to have changed right through his profession. ‘neutral’ or ‘pure’ sound was a long-lasting conceit, and because sound can simplest be ‘impartial’ once it's written – that is, as soon as it passes through écriture – impartial sound is simply accessible to a western composer whereas unwritten ‘additional-European’ sounds are always ‘individualized’. The time period écriture, for this reason, not only connotes a compositional components – which may alternate through time – however also, greater essentially, features a philosophical view of writing premised on the change, formally and ideologically, between particular person (primitive) and impartial (written) sound. Like considered one of his early influences, Boris de Schloezer, Boulez believed that écriture allowed for an idealization of sound that became not possible, once again, in cultures that lack a written language. The identical yr he heard Artaud on the Galerie Loeb, Boulez studied Schloezer's newly posted Introduction à J.-S. Bach (1947), through which the musicologist, expecting Boulez's personal attitude towards the mbira, claimed that non-western musical cultures were restricted to the material conditions of their contraptions. ‘The fundamental attribute of the area elaborated with the aid of western musical way of life’, Schloezer trumpeted, ‘is its complete independence from sonorous material.’Footnote 50 even though these remarks are available the context of a work dedicated to Bach, at this second of the textual content Schloezer's argument turns into vast and sweeping, having greater to do with an important view of western versus non-western musical methods than with any specific composer. through the medium of writing, a composer takes a sound as a ‘number’, no longer as a cloth factor, amounting to a ‘dematerialization’ of the sound house.Footnote 51

It is thru Schloezer's affirmation of the western composer's writerly authority – his declare that the ‘artistic act of the artist is to embody this number, to cost it with a definite truth, to confer a qualitative value upon it’ – that we can hear the echoes of an past philosophy of writing. via asserting that western phonetic writing is the Aufhebung or ‘sublation’ of non-western kinds of writing, G. W. F. Hegel carried out the sort of ‘dematerialization’ that characterised Schloezer's idea of the western sound house. ‘Intelligence expresses itself automatically and unconditionally via speech’, Hegel proclaimed, asserting that hieroglyphic or pictographic scripts are purely cloth.Footnote 52 A pictogram creates that means through the real hint of a observe, whereas phonetic writing activates the medium of voice, floating freed from materiality.

at the same time as Artaud disdained the metaphysics of phonetic writing, he still relied implicitly on this metaphysics. in response to this metaphysics – which Derrida famously termed logocentrism – the presence of voice, of vocal sound, delivers western kinds of writing a privileged ontological fame.Footnote 53 though Artaud sought, in his personal thought of the theatre, to disavow the representational norms of theatrical writing in ‘the West’ (as he construed it), the theatre theorist's dream of a ‘hieroglyphic’ writing hinged on the identical East–West dualism that Derrida found in Hegel's philosophy. And even if Boulez's own musical writing became by no means, strictly speaking, ‘phonetic’, écriture turned into his vehicle to subsume expressions drawn from sources outside of Europe. therefore the gap between ‘us’ and ‘them’, between ‘the West’ and the relaxation, was now not best affirmed but additionally served as a simple premise of Boulez's musical language in the course of the a lot of degrees of his development. to hear how Boulez ‘dematerialized’ the sounds of Europe's others in a slightly later part, allow us to observe him to South the us with the Compagnie Renaud-Barrault. within the duration following his early encounter with Artaud, Boulez's lifelong quest for ‘pure’ or neutral sound took form as he heard the percussion of Afro-Bahian ritual, sounds that fuelled his endeavour, as he later put it, to ‘take in’ non-European sounds into the abstract and most efficient area of western song.

‘A magical Greece’: Bahian ritual in Le Marteau sans maître

[This], for me, is awfully essential: that we take in other cultures now not most effective with the aid of their content material, but also incidentally they're transmitted via sound.

– Boulez, from a late interviewFootnote fifty four

as the musical director of the Compagnie Renaud-Barrault (from about 1946 to 1956), Boulez encountered many ‘additional-European’ sounds. ‘i am already back at work on Le “Marteau sans maître”’, he wrote to Stockhausen in August 1954 whereas on a ship from Brazil to Dakar.Footnote fifty five ‘I've brought back a haul of ‘exotic’ contraptions: wood bells, double bells product of iron [‘cloches doubles en fer’], Indian flute, little Indian guitar, frame drum, bells [‘grelots’], Jew's harp [‘birimbao’] (a extremely curious instrument from Bahia, however of African beginning).’Footnote 56 This curious assortment helps Boulez's admission that the timbral palette of Le Marteau sans maître derived from sources beyond the borders of Europe, but the connection between Le Marteau and Brazil goes a step further. while traveling Bahia throughout the Compagnie's excursions of 1950 and 1954, Boulez and Barrault witnessed spiritual rituals that the composer pushed aside as ‘ineffectual rites and cults’ and that the actor championed as expressions of the essence of Greek tragedy.Footnote fifty seven ‘I noticed macumba’, Boulez brought up – a time period that refers to many kinds of Afro-Brazilian magico-ritual apply.Footnote 58 ‘Some fully fabulous issues came about’, he persisted: ‘I be aware now, as an example, that there became a black man who weighed as a minimum a hundred and ten kilos, large’; after getting into trance, ‘he spun like a spinning proper, very straight away’, and whereas ‘all of this … seemed very dangerous and violent at times, it in the end become no longer at all, on account that you have children from four- or 5-years historical within the middle of all of it’.Footnote 59 What Boulez and Barrault likely noticed in Bahia became a Candomblé xirê or ‘liturgy’. The time period ‘Candomblé’ connotes quite a few spiritual practices of West African beginning.Footnote 60 as soon as imported to Brazil starting within the early nineteenth century, Candomblé became a complex syncretism of African and Catholic beliefs – still today, Yoruba and Fon deities (orixás) are sometimes idolized as Catholic saints. In a later interview with O'Hagan, Boulez expressed awe on the percussion of the public Candomblé ceremony he witnessed, a whole lot like Barrault, who, in his 1959 Nouvelles réflexions sur le théâtre, described his obsession with the Candomblé after witnessing a person spinning about in a trance.Footnote 61

The method by which a being, no matter if black or Indian, suddenly finds himself struggling because the Spirit is transmitted to him; the manner through which the medium, after transmitting the Spirit to him, follows alongside this being; the manner through which trances are developed; the ‘purified’ calm that follows; the ritual of those nocturnal ceremonies – all of this struck me, and, in an effort to communicate, certain me to these mysterious and endearing people.Footnote sixty two

it will probably look outlandish to suggest that any a part of Le Marteau sans Maître, a monolith of self sustaining contemporary music, turned into basically modelled after a Candomblé liturgy. while Boulez didn't explicitly cite the Candomblé as a source for Le Marteau, by means of examining the ‘Commentaire I de “Bourreaux de solitude”’ alongside Barrault's account, we possibly parent traces of spirit possession taking musical form.Footnote sixty three Boulez accomplished the ‘Commentaire’ in South the usa, mailing the primary achieved draft to his writer, familiar edition, during the 1954 tourFootnote sixty four – and he had already witnessed Candomblé as a minimum once (if not a few times) with the aid of this aspect. The poetic arc of the ‘Commentaire’ follows that of the Candomblé xirê – or, at least, appears to comply with the ‘ethnographic reconstruction’ of a xirê that you can study in Barrault's Nouvelles réflexions, or see in an additional contemporaneous supply, director Marcel Camus's movie Orfeu Negro (1959). whereas Barrault and Camus each and every became the Candomblé liturgy into an allegory for a kind of timeless (however eventually western) spirituality, Boulez relocated the allegory from the degree of illustration to the degree of sound, using what can be called sonic allegory. Of direction, Le Marteau doesn't ‘sound like Brazil’; it is not a literal reconstruction. Boulez neither mentioned Aeschylus (like Barrault) nor the story of Orpheus (like Camus); instead, I indicate that Boulez's sounds became infused with legendary presence through an allegorical use of the Candomblé.

Figures of the Candomblé liturgy described in ethnographic sources align with the important characters in Barrault's account. In his Nouvelles réflexions, Barrault describes entering a huge gymnasium and looking at a group of white-clothed initiates walk collectively against their pai de santo, the leading priest.Footnote sixty five Accompanied through the regular beat of a drum – possibly played by means of the master drummer, or alabé – the practitioners collect earlier than their priest, who's seated subsequent to an altar scattered with Catholic relics and a large statue of Christ. ‘The look of the priest and his smile’, writes Barrault, ‘the big Christ's sorrow dominating the desk, and the pervasive scent of the incense gave an abnormal touch to this small-city cocktail-party.’Footnote 66

The liturgy that Barrault describes unfolds with a specific pacing and a gradual increase in intensity – a sort of dramatic arc reminiscent of Boulez's ‘Commentaire’. the opening bars produce a in a similar fashion meditative mood, comprehensive with a subdued processional rhythm (illustration 1).

instance 1 Opening of ‘Commentaire I de “bourreaux de solitude”’. With kind permission of normal version AG, Vienna.

Warming up with three leaps of a flute, a xylorimba and pizzicato viola enjoying brief percussive attacks, the ‘Commentaire’ is a rhythmically layered fabric supported with the aid of the irregular accents of a body drum (just like the one that Boulez introduced home from Brazil). The rating partakes of the cryptographic elegant: with many changing time signatures, the song looks to conceal an underlying order. Even devoid of cracking the Boulez code, even though, we are able to hear that the ‘Commentaire’ shares a primary rhythmic function with the Candomblé: an everyday pulse – notated with vertical traces in the ranking – in order to undergird an extended unfolding development.

In Barrault's account, the average drum rhythms accompany the practitioners as they sing a ‘canticle’, and then, right through an interval of silence, the main priest and practitioners begin smoking ‘cigars … that stimulate hallucination’.Footnote 67 This moment of silence is essential to the typical narrative arc of the ritual that Barrault describes, simply because the insertion of a fermata one third of how through the ‘Commentaire’ prepares ground for the tumultuous section to follow (instance 2).

example 2 A fermata ends the primary section. With form permission of frequent edition AG, Vienna.

all over the lull, as Barrault accounts, a medium elected by means of the high priest – perhaps the babakekerê or pai pequeño (‘little priest’) – starts off to walk among the initiates. The drums start once more; the practitioners sing; the medium wanders amongst them; and because the canticle becomes greater severe, at last the medium provokes ecstasy: ‘all of a sudden some of the choir singers become electrocuted with the aid of the medium. Like a wounded man he bent forward and moved interior the circle.’Footnote 68 Following the motions of this provoke, Barrault starts off to insert vocal utterances drawn from a a good deal distinct source. ‘let us comply with the “wounded” man. at the beginning the others do not word him … . He looks shocked: “O to to toï”. some thing like a burning arrow has caught in the core of his heart’, and with a grimace of pain, he cries ‘Popoï da!’Footnote sixty nine This ‘wounded man’ starts to writhe, his movements

reminiscent of sex or of nausea, of carnal trembling or of vomitous expulsing: his mouth is twisted, his eyes bulging out. ‘Apollo! Apollo!’ … . He starts off to whirl circular like a accurate … his face is completely deformed … . He occasionally appears to keep in touch with the Spirit who clings to his neck and speaks to him; he lifts his eyelids and eyebrows to ask: ‘Apollo, god of voyages, where are you leading me?’Footnote 70

After the fermata, an increase in tempo accompanies an intensification in timbre because the next component of the ‘Commentaire’ commences. The xylorimba player switches to complicated mallets and the tambour player to 4 bongos. Boulez notates the heart beat with triangles and brackets in preference to vertical strains – pulse areas instead of distinct beats – and he inserts momentary pauses: we will think about the wounded man bending to the side for a moment earlier than the spasms proceed (instance three).

illustration three A more severe section erupts after the fermata. With kind permission of widespread edition AG, Vienna.

The ‘Commentaire’ eventually calms, the fashioned tempo returning because the bongo player switches back to the tambour; then decrescendo; then lull to a quiet end. it's the intensification midway through this flow, and the next thrashing, jolting rhythms, that betray Boulez's ethnographic supply. ‘The candomblé turned into … most incredible’, he recounted, offering ‘a mix of sound: the exhilaration of the percussion, and then … a relaxed second, … at all times with voice – the contrast between percussion-voice, like psalms.’Footnote seventy one The 4 instrumental voices within the ‘Commentaire’ replicate the 4 leading percussion voices within the xirê: the smallest drum (the lê), the center-sized rumpi, and the bell (agogô) repeat their personal diverse patterns, whereas the largest drum, the rum, organizes the choreography. The rum participant, in line with Gerard Béhague, spurs practitioners to trance through suggestions of dobrar – or diminution, ‘doubling’ the frequency of repetitions – and virar, abruptly moving to denser rhythmic patterns.Footnote 72 The intensification midway throughout the ‘Commentaire’, a kind of virar spurred as the tambour participant switches to bongos and as the tempo raises, echoes the form of rhythmic diminution and timbral intensification wherein Candomblé drummers thrust practitioners into bouts of santo bruto – or ‘wild god’, an chiefly exuberant sort of spirit possession.

This second of spirit possession appears to pose certain questions of an anthropological bent about the Candomblé as a performed experience (what is going on? how do practitioners take note what's happening?) and about the Candomblé's authenticity (does a practitioner basically enter the trance state? does a god really possess him?). within the state of ‘wild god’, Béhague continues, initiates seem to turn into ‘horses of the deities’ (exin orixá). The ‘idea-photograph’ of a particular deity comes down and ‘mounts’ the devotee who enters santo bruto; through a divination video game, the main priest interprets these acts of spirit possession to check which orixá has hooked up the provoke, who henceforth devotes him or (extra often) herself to this deity.Footnote seventy three Boulez's remark that the xirê ‘seemed very dangerous and violent from time to time’ but ‘sooner or later became not at all’, considering that babies walk among the practitioners, had implications that the composer may also now not have supposed. Candomblé is itself a form of reconstruction, a deliberate and consciously practised efficiency by which practitioners can enter an extra state of awareness, but at all times with an element of control. Santo bruto allows the phantasm, as David Graeber has written on the subject of definite African fetishes, that the apparent magic one witnesses is both a farce and an genuine spiritual transformation. both positions seem to coexist, despite the fact impossibly: that the Candomblé is ‘mere show’ – a god doesn't ‘in reality’ mount its devotee – and that santo bruto is a genuine process of becoming. The writhing physique is each an actor and a god ‘within the manner of development’.Footnote 74

The seeming or true presence of gods – reckoning on one's point of view – has allowed the Candomblé to become an allegory for quite a few kinds of spiritual experience. In Barrault's account, it grew to become an allegory for an in the beginning western theatrical essence, the ‘wounded man’ embodying the spirit of Aeschylus's medium, Cassandra. In 1954 the Compagnie Renaud-Barrault tailored the Aeschylus trilogy Oresteia, a construction for which Boulez, eagerly at work on Le Marteau, would supply music. In Cassandra's opening utterance of the Agamemnon, ‘Ototoi popoi da; Apollo, Apollo!’, unintelligible, international syllables burst from her lungs as a choir sings, much as the Bahian chorus accompanies the wounded man's spasms. She calls out to Apollo as she prophesies Agamemnon's impending homicide, quickly to die with him. while sketches of the Compagnie's construction, L'Orestie, are scarce, and Boulez's track is incomplete and now not performed, i ponder if Cassandra's ecstasies discovered their means into Le Marteau. based on his and Barrault's plan for the construction, Cassandra's prophecy turned into to be accompanied via an extended percussion passage (in vicinity of Aeschylus's choir), and possible imagine that this music would have sounded a great deal just like the ‘Commentaire’.Footnote 75

in spite of everything, Barrault whitewashed the Candomblé as an expression of primordial Greek-ness. His account concludes with a vignette of himself, again home in Paris. He pulls his copy of Aeschylus's tragedy off the shelf and re-imagines Cassandra's prophetic bouts of anxiety as if she were a Bahian native, believing that the nameless wounded man's cries and spasms published a pure and timeless ‘actual lifestyles’.Footnote seventy six A narcissistic projection certainly, the Bahian ritual mirrored for Barrault a deeper Self in the course of the fable of the other: ‘now not some thing erudite, not the famous Greek concord of our grammar colleges, no longer the Greece of bleached statues, however an archaic, juicy, human, anguished Greece in consistent contact with the secret of lifestyles: a magical Greece’.Footnote 77

Barrault turned into now not alone in viewing the Candomblé as an allegory for a magical Greece. In Camus's Orfeu Negro, launched the same year as Barrault's Nouvelles réflexions, the Candomblé turns into a second in Orpheus's experience to the underworld to find the soul of Eurydice. Set in the mid-twentieth-century slums of Bahia, and featuring Orpheus (performed by Breno Mello) as a black guitarist able to play on the carnival, Orfeu Negro depicts the Candomblé as an authentic expression of contact between the dwelling and the dead. The gold-clothed Orpheus attends a liturgy led by way of a cigar-smoking main priest, and which facets both an altar to Christ and a circle dance during which a feminine practitioner becomes possessed, writhing and screaming. The Macumba scene culminates as Eurydice's spirit takes possession of an aged girl standing at the back of Orpheus: Eurydice's acousmatic voice begs him not to show around, and when he inevitably does and sees simplest an aged woman, the voice bids Orpheus farewell invariably.

Boulez by no means credited the Candomblé as an express have an impact on on Le Marteau, and certainly not would have stooped to the ‘simple ethnographic reconstructions’ that we are able to study in Barrault's Réflexions or see in Camus's movie. To take the Boulez of 1954 at his word would mean believing that the Candomblé had rarely made an impact on him. The natives exhibited ‘some awesome hysterical states’, the composer wrote to Pierre Souvtchinsky, ‘however the rites and cults … addressed to God, to the satan, to the phallus or to the virgin, are always ineffectual rites and cults for his or her own ends’. it's conspicuous that Boulez, at this stage of his building, distanced himself from Artaud – ‘i am more and more satisfied that Artaud was on absolutely the incorrect tune.’ He pushed aside the rituals for a lot the equal rationale that he brushed aside Catholicism (which he should have considered mirrored within the Candomblé): worshipping God or the satan, the virgin or the phallus is ‘ineffectual’, in his phrases, given that ‘hysteria [is] one of the vital passive states’.Footnote seventy eight To ‘reconstruct’ hysteria within the manner of Artaud's Pour en finir, from this point of view, would be to aspire to a ‘passive state’, whereas Boulez sought something extra energetic and additionally more summary, musically removed from Bahia. To ‘organize delirium’ potential to consciously create it, to write presence.

The accents of Boulez's body drum, in contrast to a Candomblé bell sample, are fairly irregular, hardly an ostinato; the voice of Boulez's flute is neither repetitive nor diatonic within the manner of a Candomblé vocal melody. Yet this is Boulez's composerly conjuring trick. The rhythmic personality of the ‘Commentaire’ mirrors that of the xirê: beginning with a daily pulse interspersed with accents, Boulez follows the poetic arc during which a practitioner, guided by means of rhythmic and timbral intensification, enters an additional state of being. He wrote this being into tune. Barrault's all-too-evident allegorization of Candomblé as ‘a magical Greece’ is, I suggest, an apt analogy for Boulez's own (more covert) appropriation: sound itself became a sort of redemptive western allegory through which Boulez affirmed the mysterious power, the fundamental drive, of sound.Footnote seventy nine Even in Béhague's ethnographic account, the power that song can seem to wield over Candomblé practitioners turns into an oblique allegory for musical autonomy. ‘The immediate name to possession’, he brought up, ‘comes from the track itself’.Footnote 80 song wields its own mysterious powers: the effects of the Candomblé drums turn into an allegory for the immediate religious energy of the tune itself, a tacit acknowledgement of the autonomy of musical aesthetics. And ‘the track itself’ became the web site of Boulez's personal allegorizing.

Musicology has encountered this circumstance before. Boulez appropriated an initially religious form with out its long-established spirituality, a bid for musical purity along the traces of Igor Stravinsky's disavowal of his own ethnographic sources. The mythic vigour of a springtime ceremony turns into relocated, via a composer's disavowal of ‘additional-musical’ influences, into the independent space of tune. Debunking this modernist fantasy of ‘the song itself’, Richard Taruskin referred to the various folks songs that Stravinsky wrote into Le Sacre du printemps, and proven that Stravinsky invoked the poetics of the rite – whether a virgin sacrifice or the marriage depicted in Les Noces – to bring a primitive immediacy of consciousness. For Taruskin, Stravinsky's self sufficient tune changed into an endeavour to embody in musical form a Eurasianist dream of a united Russian spirit and Russian land between Asia and Europe. It become a land floating somewhere in the song itself.Footnote eighty one

For Boulez, too, the primitive state evoked by way of a ceremony beckoned towards a sonic utopia, however this utopia turned into even much less worldly. He did not call for a brand new national attention, nor did he imagine that the sounds of the ethnographic different might discover a greater customary or more premier political reality. as an alternative, his effort to forge the essence of the different's hysteria devoid of representing a specific ‘different’ mirrored perhaps the oldest, purest, and quintessentially western philosophical dream: ontology.

Conclusion: To have completed with the judgement of Ontology

[I]n its closure, it is fatal that representation continues.

– DerridaFootnote eighty two

there is perhaps no more advantageous term for Greek essence than ontology. ‘A Greek invention firstly’, to quote Derrida, the term refers to a discourse (emblems) about being (on), premised on an ontological difference between particular things of the area and their metaphysical ground.Footnote 83 Drawing from Heidegger, Derrida held that ontology presupposes a change between ‘Seiend (being in English, étant in French, ens in Latin)’, and ‘Sein which potential in French Être, in Latin Esse. In English, there is not any strategy to translate the difference between Seiend and Sein’, which is why translators on occasion render ‘Seiend as “being” with a lowercase “b” and Sein as “Being” with a capital “B” which is quite tricky’.Footnote 84 Lowercase ‘being’ refers to an entity latest in its temporal and spatial specificity – we are able to think of the selected sounds of Boulez's ‘Commentaire’, or the writhing physique of Barrault's imagined ‘wounded man’, as ‘beings’ during this feel – whereas Sein (or Being) refers to a more abstract sense of presence it truly is presupposed every time one writes. despite the fact, as Derrida contended, ‘Être/Sein is nothing’: there isn't any single ‘essence’ through which to unite diverse beings, in view that ‘which you could under no circumstances discover anything else any place that we can name Sein, and yet Sein is presupposed each and every time we are saying “this is a being”’.Footnote eighty five This linguistic difference between Seiend and Sein grew to become, in Derrida's philosophy, an ontological différance between the signifier – the selected fabric notice – and the signified, which is most advantageous and immaterial. by way of observing that the signifier and signified, like ‘being’ and ‘Being’, suggest different and incommensurate temporal orders, Derrida argued that the entire of western metaphysics, which ‘has been constituted in a gadget (of idea or language) decided on the groundwork of and in view of presence’, had been working beneath the spell of a fiction.Footnote 86 Presence, or Being, doesn't ‘exist’ in the strict sense.

Ontology, the bedrock of European philosophy, seems regularly in Derrida to be little more than a video game of writing – even though far from inane. it is a discourse that grapples with the character of being through the emblems; it truly is, through ‘reason, discourse, calculation, speech – emblems capacity all that – and additionally “gathering”: legein, that which gathers’.Footnote 87 If a emblems is a ‘gathering’, ontology gathers many disparate beings under the ordinary feel of Being. here's why, for Levinas, ‘ontology as first philosophy is a philosophy of vigor’.Footnote 88 Philosophical discourses about Being had at all times been constituted via a technique of appropriation-via-assimilation, because an ontology takes form because the different – some thing is outside of Being – turns into ‘gathered’ within a western trademarks. even though Levinas articulated this ‘ontological imperialism’ within the abstract, his political implications had been clear enough. As Europe asserted its ‘being’ through financial exploitation and army domination, ontology arose to legitimize the coherency and highbrow supremacy of ‘the West’. This ‘West’, in flip, held ontology as a ‘pure’ and impartial medium to understand the world, given that ‘Being, without the density of beings, is the gentle during which beings turn into intelligible’.Footnote 89 ‘The West’ gathers itself by means of subordinating and subsuming whatever doesn't enter this gentle.

Artaud and Barrault were after a kind of essence: the sensory barrage of the Balinese theatre or the spasms of a Candomblé practitioner grew to become allegories for the Being of theatre. Even for Artaud, this essence became (every so often) Greek: a Tarahumara ceremony that he witnessed in 1936 grew to become, in his writings, ‘the ceremony of the kings of Atlantis as Plato describes it within the pages of Critias’. He continued:

Plato talks about an odd ceremony which, because of circumstances that threatened the way forward for their race, become carried out via the kings of Atlantis.

however mythical the existence of Atlantis, Plato describes the Atlanteans as a race of magical origin. The Tarahumara, who're, for me, the direct descendants of the Atlanteans, continue to commit themselves to the observance of the magical ceremony.Footnote ninety

All this allegorizing amounted to a navel-staring at fantasy that a deeper Self might emerge from the different, a bit like a Catholic pass emerging from the Mexican soil. ‘Philosophy is an egology’, Levinas declared, as a result of ontology assumes that change is but a mirage concealing sameness.Footnote 91

by means of disavowing the ‘essential ethnographic reconstructions’ that we can hear in Artaud or examine in Barrault, Boulez displaced these specific western allegories onto sound. Sound grew to be ‘radically different’, and écriture grew to become Boulez's ‘impartial medium’. here's ontological appropriation: musical writing becomes the pure gentle by which a composer writes the other into the most advantageous area of western track. ‘precise’ sounds, what Boulez known as pure or impartial sounds, emerged for the composer only when the certain sonic world that he heard in South the usa, or that he encountered via recordings of Laotian or Cambodian music, have been effaced, neutralized, and made part of his summary musical imaginings.

is this not how an ontology – any ontology – is made? A manner of extraction and inscription makes fact thinkable beyond erroneous appearances, a method of writing that makes the very difference of truth from look viable. however, researching Boulez may remind us, to play a bit of with his personal ideas, that sound does not ‘turn into ontological’ until it passes via écriture. Ontology is neither a given neither is it a impartial medium – it handiest appears so, as if to name an ontology is to identify what actually is, which is a component of the trick of the time period. Ontology additionally cloaks the real with a shroud of mystery: a veil conceals many specific voices, ‘individualized’ sounds that fall mute on every occasion an ontology comes into being. And this equal veil commonly functions as a bolster for scholarly authority. Ontology is a writerly conjuring trick, though a peculiar one because it looks so innocuous, connoting the ‘in itself’ of things – a true sound past language; a presence beyond what we will re-current.

In fresh decades, however, many have sought to rescue ontology from its old baggage as a philosophy of vigor. For proponents of the ‘ontological flip’ in anthropology, there are lots of feasible ontologies. The anthropologist's job, based on Eduardo Viveiros de Castro, is not to ‘[explain] the realm of the other’, but as a substitute to ‘[multiply] our world’ – that is, to expand the discursive ‘worlds’ of anthropology via letting the other continue to be different. ‘The different [is] the expression of a probable world’.Footnote ninety two From this standpoint, ontology is no longer ‘a discourse (trademarks) concerning the nature of being’, however, as David Graeber writes, has become ‘a word for “being”, “way of being”, or “mode of existence”’.Footnote 93 The state of santo bruto cannot be judged as real or phony if the practitioner belongs to a completely different order of being. Yet, whether it is an ‘illegal stream’, as Viveiros de Castro claims, for the anthropologist to name what look like magical moments corresponding to santo bruto either real or false, keeping in its place we're witnessing a radically different ontology, then the moral container turns into flattened.Footnote ninety four The thought that many different worlds exist, protected from the anthropologist's Eurocentric gaze by a take care of called ‘ontology’, appears to fall into an moral predicament usual from the times of Franz Boas and his students. If we area the different in one other ‘feasible world’ – which is, in any case, of our making – then there is no foundation for reality, and no cause to take the other critically. therefore no depend how ‘radical’ or innovative, to quote Paul Rabinow, makes an attempt to construct relativistic theories of cultural difference possibility ‘[leading] – despite their intent – to a variety of nihilism, a discount of the other to the identical’.Footnote 95 satirically, in this flattened box through which many ontologies develop into equally possible, ‘ontology’ regains its usual meaning. If any entity may have or belong to an ontology, then every person and every thing is equally ‘ontological’ (and, then, why no longer have ontology on the seashore? or ontology in mattress?).Footnote 96 notwithstanding it can seem to be radical to suppose of many feasible ontologies, as soon because the term is in play, there is barely ever one ontology. It remains a discourse, a light wherein to light up ‘beings’, making different worlds part of our own.

Ontology has not changed plenty considering the fact that Derrida or Levinas wrote about ‘the West’. It has most effective develop into a sort of trump card for scholarly authority, considering the fact that, as Graeber suggests, ‘the problem with cultural relativism is that it locations people in packing containers now not of their own devising’: ontology ‘just substitutes a deeper field’.Footnote 97 within the musicological ‘field’, meanwhile, ontology appears to have ‘imperialized’ how some students believe about sound. applying Eduardo Kohn's somewhat primary definition of ontology – ‘the examine of “truth”’ – to the analyze of sound, we are able to see that sound regularly stands for just that: reality.Footnote 98 ‘Noise [is] the floor’, as Christoph Cox writes, ‘that provides the situation of chance for each articulate sound, as that from which all speech, track, and sign emerge, and to which they return’. Conceiving of the ‘sonic flux’ as an ‘immemorial cloth movement’ that humans can actualize by way of making track, however which always goes past the human, Cox positions noise as Being itself: the sort of presence through which any certain sound or piece of tune will also be understood.Footnote ninety nine United in a challenge that Brian Kane termed ‘onto-aesthetics’, Cox holds that sound paintings discloses its own ontological situation just as Nina Eidsheim holds that definite forms of avant-garde apply – akin to underwater singing – demonstrate the vibrational remember on the coronary heart of sound.Footnote one hundred whereas sonic flux resounds past human perception, vibration – which is Eidsheim's replace to ‘noise’ – becomes the elusive pure presence underlying what we will characterize. Ontology, in this experience, is a method to reconfigure subjectivity – ‘if we in the reduction of and limit the world we inhabit’ with the aid of conserving to preconceived notions about sound, she argues, ‘we reduce and restrict ourselves’.Footnote one hundred and one A distinction abides between tune-as-appearance (whatever created) and sound-as-fact, and ‘sensing sound’ allows one to break free of Self-versus-different binaries that invariably ‘in the reduction of and restrict’ our self.

regardless of these endeavours to ethically remediate the thought of ontology, the resonances between our present-day sonic ontologies and the sonic allegories of Boulez and Artaud's day should still make us cautious about using ‘ontology’ as a stand-in for truth. Of course, there's a superb distance between Artaud's pure theatre and Mexico, as between Bahia and Barrault's magical Greece. with no trouble describing Artaud and Barrault's writings is enough to uncover the ethnocentric attitude that we comprehend (by means of now) to have been part of inventive modernism. however by some means when the ontology of sound is in query it becomes more durable to reply: where is fact and where is look? For Clifford, all ethnography is (in some experience) surrealist because ethnography always comprises aestheticizing its findings.Footnote 102 The different seems to me during the writing that i know, becoming understandable as my illustration; the art forms and expressions of the different resonate with my perception of my very own subculture, and for that reason the different's lifestyle, viewed towards mine, turns into a type of paintings. In sum, all lifestyle may also be anything of an ethnographic artefact and a piece of paintings, true because farce.

If all ethnography employs surrealist approaches, at the least tacitly, i would task that sonic ontology-making is surrealistic too. Which quantities to a quite elementary conclusion: ontology-making is, after all, just that. A making. but it is a ordinary form of poiesis, since ontology claims to latest things as they definitely are. thinking via Derrida's conclusions about Artaud, however, i'm wondering if ontology ‘definitely’ receives us closer to the real. ‘In its closure, it is deadly that illustration continues.’ precisely as he sought to disavow an older metaphysical regime – in Derrida's words, to ‘kill the father’, both the religious Father who judges the world from afar and the author-God who makes theatre into a mere ‘double’ of a metaphysical script – Artaud stayed within metaphysics. As soon as one acknowledges presence, it is already a representation. Presence is a mirage of the true, an illusory sur-truth vanishing like sound. we can see the boundaries of illustration, its closure, but we can not stream past it. as an alternative, sound reports regularly ‘reconstructs’ an historic modernist conjuring trick. Ontology-making conceals the maker, becoming an extra discursive guise for western Writerly Authority. in all probability it is time to discover a brand new device. Or rather, in all probability it is time to have accomplished with the self-esteem that sends us on countless discursive quests for sound beyond the human, or sound ‘submit’-human. allow us to dispense with truth once and for all.

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