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Ontological Appropriation: Boulez and Artaud | EX0-104 actual Questions and test Cram

In his 1963 article ‘Dire, jouer, chanter’, Pierre Boulez (1925–2016) defined his use of certain unique sounds in Le Marteau sans maître. ‘I selected this “physique” of devices with the have an effect on of additional-European civilizations’, he wrote: ‘the xylophone transposes the African balafon, the vibraphone refers back to the Balinese gender, and the guitar recollects the japanese koto’.Footnote 1 The composer insisted, youngsters, that ‘neither the vogue nor the very use of these gadgets is related in any technique to the traditions of those distinctive musical civilizations’.Footnote 2 Boulez didn't want to represent the track of peoples outside Europe as an ethnologist might when organizing artefacts into a colonial exhibition. reasonably, as soon as purified of context, these sounds would ‘enrich the ecu sonic vocabulary through added-European listening’, and, Boulez hoped, have a refreshing and estranging effect on the listener aware of normal western timbres. With this circulation, Boulez additionally hoped to sever his chosen sounds and harmonies from the historical baggage of the classical lifestyle, and for this reason to amplify the presence of music in its second. in this endeavour he took a cue from the creator of the Theatre of Cruelty. ‘music may still be collective hysteria and enchantment’, wrote Boulez in 1947, ‘violently modern – following the path of Antonin Artaud, and not an easy ethnographic reconstruction in the photograph of civilizations more or less remote from us’.Footnote 3

What does it suggest for a composer to take sounds from the ethnographic other with out ‘reconstructing’ the different? this text will argue that Boulez's endeavour to aestheticize the ‘hysteria’ he perceived within the culture of the other was a moment of ontological appropriation, turning the different into sound. Composers of art song had long sought fresh styles and new sounds by way of reconstructing a non-European other, no matter if through Mozart's imitations of Turkish song, the exoticized characters of Bizet's Carmen, or the rhythmic counterpoint that drew Debussy to Javanese Gamelan. I imply that these endeavours to think about and to appropriate ‘extra-European’ sounds grew to become chiefly ‘ontological’ by way of the mid-twentieth century. Boulez's aim became not to reconstruct a particular other. quite, sound become the other: it emanated from someplace odd and primitive, carrying a visceral immediacy that could be leveraged to puncture the façade of western musical that means. Boulez sought a compositional formulation that would, to make use of his own time period, render sound impartial: a sonic colour as opposed to a musical sign; a ‘pure’ pleasant rather than a representation.Footnote four i will argue that Boulez's compositional method prefigured contemporary claims on behalf of the ontology of sound: that sound can put us in touch with a world extra actual, or perhaps that sound without difficulty is the precise. This seek pure sound, a routine chorus of twentieth-century musical modernism, is, and always has been, inherently ethnocentric. it's a technique of constructing sound ontological.

while the question of otherness is seldom addressed in scholarship on Boulez, it is clear that his sense of sound developed as he reconstructed ‘extra-European’ expressions in sonic kind.Footnote 5 within the first component to this article, i take advantage of Artaud as a foil to explore how Boulez's idea 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 style of expression that could re-create ‘collective hysteria and enchantment’ with out aspiring to realist ethnographic illustration, the composer endeavoured to push Artaud's expressive fashion beyond what even the theatre guru had finished. For Artaud often acknowledged the sources of his ‘delirium’: he mimicked the rituals of the Rarámuri tribe of Mexico, infusing his performances with cries, gasps, and ululations, a style of vocal performance that smartly captured, as Boulez put it, ‘the primary preoccupations of track these days’.Footnote 6 Boulez's exoticism, in contrast, turned into greater veiled: in place of comply with Artaud to intensify the alterity of the other, Boulez sought in its place to purify or occlude otherness, a stance that may also be considered as continual with surrealism.

The approach Boulez took to sound could be called ‘ontological’ as a result of he handled sound as anything more ‘true’ – greater evocative and robust – than anything that had been, or may be, expressed throughout the normative musical languages of the western subculture. In what follows, i'll first imply that Boulez's philosophy of writing hinged on an ideological difference between ‘the West’ and the rest, after which will comply with the composer to South the united states with the Compagnie Renaud-Barrault to hear how he filtered sounds from an ‘further-European’ supply that he certainly not stated outright: Afro-Bahian Candomblé. i will be able to suggest that Boulez modelled the poetics of 1 movement of Le Marteau sans maître, the ‘Commentaire I de “Bourreaux de solitude”’, on the ritual of spirit possession he witnessed in Bahia within the enterprise of actor and director Jean-Louis Barrault (1910–ninety four). not like 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 fashioned western essence. The ‘delirium’ of Candomblé practitioners within the throes of physical spasms and amid abrupt vocal utterances – the sorts of experiences that Artaud emulated at once – took sonic form in Le Marteau. As Boulez modelled the ‘Commentaire’ on a fictive narrative of spirit possession, I imply, sound grew to be an allegory, a determine for an original essence and a form of elemental drive.

Boulez's sounds are nonetheless with us nowadays. Following Christoph Cox or Nina solar Eidsheim, one could argue that a supra-audible ‘sonic flux’ or fact of vibrating count exists past human perception, a digital ground for the sounds that we actualize once we make music.Footnote 7 The concluding section of this article means that every student who holds that sound is a hyperlink to the true, to a fact beyond or in the back of what we are able to recognize and symbolize, implicitly relies on a notion of sound as allegory – a proposal that hyperlinks sound experiences to Boulez and a bunch of his contemporaries in France. This perspective in opposition t sound, commonly touted as a way to consider beyond entrenched West-versus-East and Self-versus-different dualisms, risks re-inscribing these dualisms on an ever-deeper stage. The difficulty is not with considering imaginatively about sound, but with the philosophical theory that courses scholars to take sound as an allegory for actuality and fact: ontology.Footnote eight

The time period ‘ontology’ has loved a resurgence of late as a marker of a kind of cultural relativism following the ‘ontological turn’ in anthropology and as an alternative to ‘aesthetic autonomy’ in sound experiences. however, i'm not convinced that the thought of ontology can also be purged of its history as a ‘philosophy of vigor’, to quote a phrase from Emmanuel Levinas.Footnote 9 The very idea of ontology presupposes a relation between the knower and the customary such that the widely used entity, by becoming an object of expertise and a figure of western writing, loses its alterity.Footnote 10 Levinas coined the time period ‘ontological imperialism’ to explain the grasping egotism in which ‘the West’ constitutes itself with the aid of first imagining after which incorporating the different.Footnote eleven To the extent that Boulez attempted to transmute ‘extra-European’ sounds into the realm of musical writing, he became an ‘ontological imperialist’. He constituted an idea of sound, not with the aid of representing the other as other, however with the aid of subsuming the other into the equal. contemporary scholarship, too, treats sound as a determine of radical alterity, yet sonic allegory becomes a means to bolster scholarly authority. the hunt for ‘pure’ sound has an unacknowledged modernist background.

Boulez, Artaud, and the ethnographic other

‘by the time he become eighteen’, biographer Joan Peyser writes, ‘Boulez had became towards his father, his country, and every little thing else that had been held as much as him as sacred … . He repudiated Catholicism, spouting Latin obscenities when he become under the influence of alcohol … he never studied beneath anybody man for any length of time, “detesting the father-son relationship”.’Footnote 12 while this phase of Boulez's youth naturally had a strong Oedipal dimension, it turned into Boulez's defiance of the role of the spiritual 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 examine his personal texts at Paris's Galerie Loeb in the summertime of 1947, witnessing the dramatist performing the types of vocal expressions that would be recorded by using the Radiodiffusion Française later that year.Footnote 13 the broadcast Pour en finir avec le jugement de Dieu (recorded in November 1947) documents Artaud all the way through a duration of quick physical decay following a sequence of electroshock treatments administered in opposition t his will at the Rodez asylum (1943–46).Footnote 14 The forty-minute broadcast incorporates readings of Artaud's texts via the author himself, his pal (and later literary executrix) Paule Thévenin, and the actors Maria Casarès and Roger Blin. Censored by using Radiodiffusion Française (RDF) simply before its gold standard in 1948 (due in colossal half to Artaud's inclusion of anti-American rhetoric, ill-timed within the wake of the conflict), Pour en finir enables us to listen to the voice that Boulez experienced reside that summer season.Footnote 15 In his opening unaccompanied monologue, Artaud shouts in his high register: ‘I realized yesterday’, after which pauses. His pacing deliberate, his rasping voice swooping low, he describes ‘one of the crucial sensational respectable practices of public American colleges’: a ‘sperm look at various’ during which all young boys are required to supply sperm for the executive to construct an artificial military. america now not best manufactured americans, but additionally warships and plastic purchaser items, inaugurating ‘le règne … de tous les fake produits fabriques’ (‘the reign of false fabricated items’) and changing every thing natural with ‘les ignobles ersatz synthétiques’ (‘lousy ersatz synthetics’). These phrases come on the end of a sequence of brief phrases through which Artaud crescendos, charging the text with belligerent vocal expressions. On fabriques, his voice quivers as if a mocking laugh; on les ignobles ersatz, he tightens his throat, pushing air with enormous power to produce a guttural growling; and before the remaining 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 in the track of spoken utterance, in the voice's capability to create which means via its personal contours, from time to time bolstering the literal meaning of a text or – in this case – working towards the which means of the phrases (‘fabriques’, ‘synthétiques’).Footnote 16 He rails in opposition t an ersatz, artificial American conflict computing device and then introduces a contrasting figure: ‘i like most the individuals who eat off the very earth the delirium from which they're born.’ His voice shivers; he blurs ‘la terre’ (earth) to sound like ‘le délire’ (delirium); he whispers: ‘I talk of the Tarahumaras … . therefore you are going to hearken to the dance of the Tutuguri.’Footnote 17

The collective enchantment that enthralled Boulez was accordingly carried out throughout the rites of the Rarámuri of the Sierra Tarahumara, whose peyote rituals, Artaud claimed, published a primordial state of being. After a silence, the subsequent component to Pour en finir starts as Artaud screams, a pair of drums and a gong accompanying his ululations as he soars into his intense higher register. This crude ‘ethnographic reconstruction’ of a primitive ritual appears to account, on reflection, for the stammering articulations and long drawn-out pacing of the printed to date: Artaud speaks as if in a trance. Casarès then enters to read the ‘Dance of the Tutuguri’ textual content, her enraptured voice vibrating as Artaud's shouts continue. This textual content describes a ritual in which six Rarámuri guys, each and every symbolizing a sun, encompass a seventh who races across 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 effects’, and his effort to push vocal utterance past what any written textual content can bring, felt like an affirmation of the rising musical language that the composer changed into within the system of conceptualizing and placing into apply. ‘i'm not qualified to focus on Antonin Artaud's use of language’, he wrote,

but i can take a look at in his writings the primary preoccupations of tune nowadays; listening to him read his own texts, accompanying them with shouts, noises, or rhythmic effects, has shown us the way to have an effect on a fusion of sound and be aware, a way to make the phoneme burst forth when the observe can now not do so, briefly a way to arrange delirium.Footnote 18

Boulez's efforts to ‘take delirium and, sure, organize it’, however, masked Artaud's specific exoticism. in all probability we can hear anything of Artaud's ‘shouts, noises, and rhythmic results’ 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 last flow, Boulez prompts the performer to ‘pulverize the sound’ in a short passage composed of a speedy-fireplace succession of quavers and semiquavers leaping between the severe excessive and low registers of the piano – rhythmic effects. This harried again-and-forth movement culminates with suddenly attacked chordal clusters – shouts – earlier than a sequence of connected pitches within the left hand (marked ‘Élargir rapidement’: expanding immediately) winds upwards towards a bunch of descending dyads in the severe excessive latitude – noises. Boulez instructions the pianist to play ‘in a really strong colour’, to sound ‘exasperated’, taking off an additional phrase of leaps.

Boulez put little inventory in verisimilitude, refusing musical ‘topics’ that his listeners or critics might have taken to characterize photos or scenes in a story mode. but however he downplayed the representational characteristic of tune – just as he disdained ‘primary ethnographic reconstruction’ – Boulez's musical gestures had been commonly visceral, stressful an identification between his listeners and performers on a corporeal level. His early pianistic language might no longer ‘symbolize’, however actually items speedy leaps, sweeps, and chordal clusters, modes of attack that had been part of the composer's endeavour to forge a brand new variety of musical event – a pianism in any other case.

Boulez's concept of écriture, the French time period that connotes no longer best literal inscription however additionally the symbolic reasoning at the back of it,Footnote 20 took form through a compositional practice that consisted of developing contrasts comparable to that between the leaping assaults of the Piano Sonata no. 2 – by which pitches appear to be both isolated or slammed collectively – and moments through which successive notes are easily linked into lyrical fragments. Boulez's musical language consisted of opposing aspects like this, a dialectical approach to timbre and phrasing that Jonathan Goldman describes via various binaries: figure versus structure (i.e., part versus entire), chord-determine versus interval-scale (i.e., ‘chord’ versus ‘scale’, or vertical versus horizontal development), and smooth versus striated time – the checklist goes on.Footnote 21 Boulez owed this approach partly to the voice that we will hear in Pour en finir. Rasping and low in one second, then quietly drawing breath; all of sudden shouting and leaping into the falsetto; ultimately slowing, stuttering, gasping out of breath: this voice is a model also for the sonic palette of the Livre pour quatuor (1948–forty nine, 1959–60).Footnote 22 With each circulation structured round a contrast between longer resonant tones and brief percussive assaults, the violent oppositions of vocal sounds echo in ever extra summary form.Footnote 23 the primary 4 bars of flow 1b of the Livre, as an example, function a collection of intervallic leaps, beginning in the viola and echoed via the violin, which sustain lengthy tones in the upper register in opposition t a quiet cello assault under, pizzicato. After a fermata, the 2nd brief 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 regularly caught in a hermeneutic ‘double bind’. by using approaching the track as an object that requires laborious decoding (attempting to find the tone rows and tracing their genealogies, for instance), we most likely pass over some of its most stunning characteristics.Footnote 24 One doesn't should pay attention ‘hermeneutically’ to hear that the ethnographic other is effectively there within the song; yet once we delve beneath the surface for compositional strategies and deep structures, the different vanishes. this is a problem that seems to haunt reports of Boulez (and, more frequently, of serialism): the rigorous strategies employed in creating this tune seem to demand decoding, as if there's always a hidden order at the back of every musical utterance. but exactly when we engage in decoding, the song's ‘otherness’ is concealed.

This double place, i need to imply, changed into part of Boulez's numerous mode of appropriation. In distinction with Artaud, who sought to latest the ‘extra-European’ as radically other, Boulez sought to occlude change, and musical writing was his medium to accomplish that. This mode of appropriation concerned a selected perspective in opposition t sound and writing that Boulez received partly via Artaud, but additionally via a larger circulation of which Artaud become – at the least originally – a component. though he broke from the legitimate surrealist community led by using André Breton (1896–1966) in or about 1926, Artaud retained anything of the surrealist perspective against cultural order and that means. This angle had to do with re-assessing ‘the West’ when it comes to its newly exhibited others: as James Clifford has counseled, the artefacts imported from France's colonial possessions indicated – to Breton and to other surrealists – that ‘subculture and its norms – splendor, actuality, truth’ were simply ‘synthetic preparations, vulnerable to detached analysis and evaluation with different viable inclinations’.Footnote 25 indifferent analysis and evaluation have been imperative in the emerging ‘ethnographic surrealist’ view of cultural order – a view in line with which western way of life is purely an arbitrary assortment of signs ready to be reconfigured and jumbled like objects on display in an ethnographic museum. We might name the surrealist mode of appropriation, then, a symbolic mode, in view that the poet became to have interaction with society's indications on a 2nd-order stage of statement: fragmenting and juxtaposing verbal signifiers in order, as Breton once quipped, to widen the gaps ‘between the phrases’. in the course of the hodgepodge logic of the dream, Breton's surrealism aimed to re-applicable society's signs to new expressive ends.Footnote 26

whereas second-order reflection on subculture and its signs turned into an essential aspect of the ethnographic surrealist outlook, Artaud took a distinct tact: the ‘additional-European’ seems to have impelled him to accentuate the primary-order intestine reactions you may have in the presence of efficiency. Artaud's mode of appropriation could choicest 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 opened up ‘between the words’. ‘it's fundamental to position an end 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 inspiration of a form of exciting language half-manner between gesture and idea’.Footnote 27 The sound of Artaud's voice, echoing in Pour en finir, gives us a sense of how this language changed into to work. words become gesture through the act of enunciating them with unexpected shouts, leaps, and screams – that is, by filling the gaps ‘between the words’ with sound. The normative written methods of western theatre were hence insufficient to manage to pay for the type of expression that Artaud sought to make accessible. The movements and utterances of Artaud's most desirable theatre would reside simplest for a second, past what can be written and repeated from analyzing a script; therefore, ‘allow us to depart textual criticism to graduate students, formal criticism to esthetes’, he exhorted, ‘and recognize that what has been referred to isn't nonetheless to be said … that all phrases, once spoken, are lifeless and function most effective at the moment when they're uttered’. here is why ‘the theater is the simplest vicinity in the world the place a gesture, as soon as made, can never be made the identical means twice’.Footnote 28 At stake for Artaud become the rivalry that the lifestyle of the West had been dominated via a theological metaphysics in line with which lifestyles on the earth – like the movements on a stage – are subordinate to an original presence, the Divine word contained within the texts of the Bible, or the theatrical notice written in a phonetic script. ‘Cruelty’ not best intended engulfing viewers in a sensory barrage – producing the types of visceral gestures that we can hear, as an example, when Boulez's pianist ‘pulverizes the sound’ – but also demanded a commitment to staying as close as feasible to the limit of representability.Footnote 29 in preference to confront society on the level of its representations, Artaud dreamed of a pure presence, an awesome of immediacy and un-representability. therefore the Theatre of Cruelty, in Jacques Derrida's words, may be the artwork of ‘pure presence as pure difference’: it might circulate like a language, carrying a signifying force, yet with out forming iterable signs.Footnote 30 Producing an all the time-renewed effect of presence, a merciless theatre would seek to elide the stream and mechanisms of re-presentation.

however, like Boulez, Artaud crucial writing. As we now have already viewed, ethnographic reconstruction became a part of how the dramatist enacted his ‘pure presence’, and he anticipated Boulez's personal look for a brand new variety of writing that might arrange the delirium that Artaud speculated to emanate from Mexico or in different places. Artaud noticed a imaginative and prescient of this new writing when he witnessed Balinese theatre at the 1931 Exposition coloniale held in the woodland of Vincennes outdoor Paris. There, the French govt hosted agencies of individuals from Africa, Oceania, West India, and different colonies to demonstrate arts, to make food and crafts – including the Oceanic artefacts that involved Breton – and to function track and dance just like the Balinese spectacles that Artaud witnessed, claiming that the Balinese embodied ‘the concept of pure theater’.Footnote 31 it's doubtful (to us) what Artaud in fact noticed at the Exposition, even though he wrote of Balinese theatre as if it changed into a collage of ritualistic movements, tune and poetry, costume and other visual elements – all appearing earlier than his eyes as a kind of hieroglyphic writing. These ‘non secular signs’, he declared, ‘[strike] us handiest intuitively however with adequate violence to make pointless any translation into logical discursive language’.Footnote 32 The non-phonetic writing of Artaud's most appropriate theatre would prepare configurations of our bodies and objects, mapping out pursuits; therefore it will silence the voice of the absent author-creator, all in an endeavour to approximate the immediacy of ‘chinese language ideograms or Egyptian hieroglyphs’. rather than inscribe talk, staging instructions, and the like, this writing would directly deal ‘with objects … like images, like phrases, bringing them collectively and making them respond to each and every different’.Footnote 33 youngsters, while this new non-phonetic writing would skip the written voice of the writer, it might now not silence the voice of the actor. removed from it: Artaud insisted that the hieroglyph would provide a new vicinity to voice, to the actual embodied voice onstage, on the grounds that vocal sounds would no longer 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, however, as I even have cautioned, Artaud's vocal sounds persevered to echo below Boulez's pen. we can hear how Boulez entextualized the ‘delirium’ that he heard in Artaud into an abstract musical language.Footnote 34 but while the composer aimed to provide unexpected first-order intestine reactions through musical violence, he also mirrored – in published essays and later lectures – on the tactics by which this violence could be produced. He sought a strategy by which to build upon the ‘pure presence’ of Artaudian expression, taking on Artaud's aesthetic optimum into a terrific musical writing. With the emphasis he positioned on writing and constitution, for this reason, Boulez positioned himself as a part of a lineage of French artists and intellectuals main from the ethnographic surrealist moment of Paris's interwar years in opposition t the mid-century, through which enormous theoretical weight became connected to the suggestion that way of life is written. The surrealist conviction that beauty, truth, and truth are mere products of symbolic arrangements laid the groundwork, as Clifford recommended, for the ‘semiotic’ view of cultural order that you can examine, as an example, in Roland Barthes's famous declare that ‘everything can be a delusion, provided it is conveyed through a discourse’. If lifestyle is a collection of signals, then sorts of discourse – ‘modes of writing or of representations; now not handiest written discourse however additionally images, cinema, reporting, recreation, shows, publicity’ – inevitably entwine themselves with vigor.Footnote 35 Artaud, in in quest of a form of vocal utterance past the ‘legendary speech’ that had upheld bourgeois normativity, gave a selected privilege to sound as a car of transgression – this is the variety of sound we will hear in Boulez.

Boulez's stance in opposition t sound become imminently surrealist considering it turned into a musical response – albeit a really summary response – to the transgressive aesthetic put forward all through the surrealist years. As Clifford wrote, ‘the unique [was] a primary courtroom of attraction against the rational, the appealing, the regular of the West’, permitting thinkers within the surrealist camp such as Georges Bataille – heir of a transgressive avant-garde spirit that dates again at the least to Baudelaire – to deconstruct the hallowed beliefs of western culture by claiming that every cultural norm incorporates and conceals its obverse. Tonal harmony, on this view, is one European social fable among others, drained and two-faced: confront tonal harmony with its other – dissonance – or confront respectable with evil, piety with perversion, and you may see that each norm contains the seeds of its own dissolution. This valorization of transgression, in Clifford's phrases, ‘[provides] an important continuity within the ongoing relation of cultural evaluation and surrealism in France’. The present article is intended as an entryway to assess the function that song and sound played in organising this transgressive aesthetic – a classy that hyperlinks ‘the twenties context of surrealism appropriate to a later generation of radical critics’.Footnote 36 The jumble of non-European signals offered at colonial exhibitions (and later housed in the Musée de l'Homme) now not best 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 results’ – might echo from between the cracks in western cultural that means. by way of freeing a stream of speech through surrealist automatic writing, or by way of shouting, stuttering, and speaking in tongues, sound grew to be ‘other’: that which resounds past the norms of pictorial and linguistic illustration, ‘between the phrases’. hence the free play of indications changed into now not handiest Oriental, however became mainly sonic. here's the Artaud that Boulez discovered so attractive:

[B]y an altogether Oriental capability of expression, this goal and concrete language of the theater can facilitate and ensnare the organs. It flows into the sensibility. forsaking Occidental usages of speech, it turns phrases into incantations. It extends the voice. It utilizes the vibrations and features of the voice. It wildly tramples rhythms underfoot. It pile-drives sounds … . It ultimately breaks away from the intellectual subjugation of the language, through conveying the sense of a new and deeper intellectuality which hides itself under the gestures and indications, raised to the glory of specific exorcisms.Footnote 37

Ontological appropriation

In his disavowal of ‘ethnographic reconstruction’, we are able to feel that Boulez distanced himself from Artaud even as he drew inspiration from the theatre theorist. The ethnographic different changed into no longer a beneficial choice to ‘the West’ for Boulez. however, as i am hoping to show, Artaud and Boulez every participated within the mutual building of ‘the West’ as adverse to ‘the relaxation’, an opposition that undergirded each artist's simple views about their respective media – theatre and song. Boulez's mode of appropriation was ontological as a result of he aimed to reconstruct the ‘hysteria’ of the different at an ontological eradicate from any specific americans or place. He whitewashed ‘further-European’ sounds in an endeavour to create what he referred to as ‘pure sounds – fundamentals and herbal harmonics’ that could be subsumed within a musical cloth.Footnote 38 This procedure of purification was at all times a part of Boulez's stance in opposition t sound, part of his own transgressive modernist aesthetic. Yet, as this part will show, the search for a brand new variety of écriture tied Boulez and Artaud to a an awful lot older, and explicitly ethnocentric, philosophy of writing.

In apply, Boulez's écriture was a medium to prepare delirium, and in theory, too, écriture hinged on a big difference between individualized sound and neutral sound, itself a species of a greater prevalent dichotomy between a western self and the ethnographic different. ‘The extra a sound has striking particular person traits, the less conformable it can be to different sounding phenomena’, instead ‘[preserving] its own individual profile’, pointed out Boulez in a 1994 lecture at the Collège de France.Footnote 39 during this he echoed a trope that he had voiced a lot past in a 1949 preface to John Cage's Sonatas and Interludes. Expressing a deep admire for Cage's use of ‘non-tempered sound areas’ as well as ‘sound complexes’ in his experiments with the prepared piano, Boulez in spite of this cautioned (quite subtly at the time) that his American correspondent changed into barking up the incorrect tree.Footnote forty Cage didn't produce pure sound, relying in its place on the individualized features of sounds crafted from inserting bits of metal, screws, and paper clips amid the piano strings. This endeavour, inspiring and sparkling notwithstanding it turned into for the young Boulez, sooner or later constituted a regression in musical thinking. In a 1972 dialog with Célestin Deliège smartly after Boulez and Cage parted methods, Boulez aligned Cage's use of individualized sounds with the twanging and buzzing of the African sanza (or mbira): ‘within the track of some African peoples (not probably the most highly-developed from the musical element of view) we discover an instrument, the sanza, that has vibrating blades [which] may make up a impartial universe – they kind a scale that is fixed and modal, as all African scales are.’Footnote 41 devoid of the mutes and resonant rings that mbira avid gamers connect to the vibrating blades, the sounds of the blades ‘could’ be impartial, simply because the notes of a piano are impartial before a composer inserts debris between the strings.

Boulez's mention of an African instrument bespeaks the composer's pastime in non-European instruments, an pastime that he developed fairly early in his musical existence as he honed his composerly competencies via transcribing musics from backyard Europe – a practice that undoubtedly informed Boulez's view of individualized versus impartial sound. all the way through the summer of 1945, whereas a scholar at the Paris Conservatoire, Boulez heard Balinese music in a class with Olivier Messiaen, and as he would later account, ‘dreamed, for a second, of focusing on musicology: no longer within the analyze of texts, but in ethnomusicological investigation in connection with a department of the Musée de l'Homme or the Musée Guimet’.Footnote forty two This changed into now not just a dream: after paying attention to discs of numerous non-European musics, Boulez planned to head on an ethnological expedition to Cambodia and Laos hosted by the Musée Guimet in 1946, a voyage immediately cancelled as the First Indochina war broke out that iciness.Footnote forty three In guidance, youngsters, Boulez transcribed various songs together with a ‘Laotian tune of possession’ for 2 voices.Footnote forty four This become an ethnographic reconstruction in the most literal sense: in accordance with Luisa Bassetto, the composer doubtless jotted down this track – as well as others from Cambodia and Cameroon – fairly right away, in all probability as a part of a dictation look at various just before the ethnographic voyage.Footnote forty five Transcriptions like these are precisely what the Boulez of 1947 would renounce as Artaud's voice rang in his ears. effortlessly reconstructing (i.e., transcribing) the sounds of ‘extra-European’ ritual or spiritual follow did not go a long way satisfactory for the restive composer, who eventually did not are looking for ethnomusicological capabilities for its own sake, but reasonably for the sake of increasing the timbral and rhythmic percentages purchasable in new song.

Boulez adopted (by using default) a Eurocentric view in keeping with which musical writing allows for for a degree of abstraction and sophistication unknown in cultures that lack a written musical device, and his transcriptions of those songs deliver us a touch about what impartial sound got here to suggest 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 almost two decades – exerted a particular allure for the composer, he changed into most drawn to exploring what a music of spirit possession may turn into during the act of transcribing it and researching its written form. whereas Cage (from Boulez's standpoint, anyway) in all probability would have believed that the certain qualities of sounds – Laotian or otherwise – have been exciting ample on their personal, Boulez felt that only letting sound be sound (to paraphrase a well-worn Cage-ism) become insufficient. Sound had to flow through the medium of écriture – Boulez's medium – to truly develop into song. there's most likely no superior summation of Boulez's take on the change between his and Cage's tactics to sounds – and, for our purposes, of Boulez's own sense of the change between particular person and neutral sounds – than his statement in the 1949 Cage essay: ‘Noise does certainly have a very incredible immediate physical impact, however utilizing here is unhealthy, because its novelty hastily wears off’.Footnote 46 Noise can strike us powerfully, but simplest so time and again. Buzzing and twanging are insufficient. so as to retain the immediate physical impact of noise, possibly to base a musical language on its visceral presence, a composer ought to put sound via écriture.Footnote 47

For Boulez, Cage's strategy to sound turned into no longer only wrong; it turned into primitive. ‘In that sort of musical civilization’ – Africa – ‘and with an instrument of this model’ – the mbira – ‘the technique has every justification’: these civilizations are primary.Footnote forty eight but it surely could be unjust and ‘contrary to the entire evolution of music’ for a european composer ‘to delimit an instrument within highly standard and individualized features, since we're relocating more and more within the direction of relativity’, this is, towards rendering sound impartial.Footnote forty nine best neutral sounds can be subsumed into a broader texture, enabling their ‘true’ individuality to ring.

Of path, Boulez's specific strategy to sound advanced: the violent gestural language of the Deuxième sonate, the equipment of complete serialism wherein Boulez composed structures I (1952), and the computer systems in use at IRCAM two many years later, signify distinctive moments in Boulez's building – he was all the time on the flow. Yet, despite the numerous techniques that Boulez cultivated, his essential view of sound and writing looks now not to have modified all the way through his career. ‘impartial’ or ‘pure’ sound was a lasting conceit, and given that sound can only be ‘neutral’ once it's written – it's, as soon as it passes via écriture – neutral sound is simply accessible to a western composer whereas unwritten ‘added-European’ sounds are always ‘individualized’. The term écriture, therefore, no longer best connotes a compositional components – which might also exchange through time – however also, more fundamentally, contains a philosophical view of writing premised on the change, formally and ideologically, between individual (primitive) and neutral (written) sound. Like one of his early influences, Boris de Schloezer, Boulez believed that écriture allowed for an idealization of sound that become unimaginable, once again, in cultures that lack a written language. The equal yr he heard Artaud on the Galerie Loeb, Boulez studied Schloezer's newly published Introduction à J.-S. Bach (1947), through which the musicologist, watching for Boulez's personal attitude against the mbira, claimed that non-western musical cultures had been restricted to the cloth conditions of their gadgets. ‘The essential characteristic of the space elaborated by using western musical culture’, Schloezer trumpeted, ‘is its complete independence from sonorous cloth.’Footnote 50 even though these remarks are available the context of a piece committed to Bach, at this second of the text Schloezer's argument turns into large and sweeping, having greater to do with an essential view of western versus non-western musical techniques than with any certain composer. during the medium of writing, a composer takes a sound as a ‘quantity’, no longer as a cloth aspect, amounting to a ‘dematerialization’ of the sound space.Footnote fifty one

It is thru Schloezer's affirmation of the western composer's writerly authority – his claim that the ‘artistic act of the artist is to embody this number, to can charge it with a definite reality, to confer a qualitative value upon it’ – that we will hear the echoes of an previous philosophy of writing. by way of affirming that western phonetic writing is the Aufhebung or ‘sublation’ of non-western forms of writing, G. W. F. Hegel performed the kind of ‘dematerialization’ that characterized Schloezer's suggestion of the western sound house. ‘Intelligence expresses itself instantly and unconditionally via speech’, Hegel proclaimed, affirming that hieroglyphic or pictographic scripts are in simple terms fabric.Footnote 52 A pictogram creates meaning through the physical hint of a note, whereas phonetic writing prompts the medium of voice, floating freed from materiality.

even as Artaud disdained the metaphysics of phonetic writing, he nevertheless relied implicitly on this metaphysics. in line with this metaphysics – which Derrida famously termed logocentrism – the presence of voice, of vocal sound, supplies western sorts of writing a privileged ontological fame.Footnote 53 even though Artaud sought, in his personal conception 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 equal East–West dualism that Derrida found in Hegel's philosophy. And besides the fact that Boulez's personal musical writing turned into not ever, strictly talking, ‘phonetic’, écriture was his vehicle to subsume expressions drawn from sources outdoor of Europe. accordingly the distance between ‘us’ and ‘them’, between ‘the West’ and the relaxation, became no longer simplest affirmed however also served as a simple premise of Boulez's musical language throughout the a variety of ranges of his building. to listen to how Boulez ‘dematerialized’ the sounds of Europe's others in a a bit later section, allow us to comply with him to South the usa with the Compagnie Renaud-Barrault. within the period following his early encounter with Artaud, Boulez's lifelong quest for ‘pure’ or neutral sound took shape as he heard the percussion of Afro-Bahian ritual, sounds that fuelled his endeavour, as he later put it, to ‘absorb’ non-European sounds into the summary and top-quality house of western music.

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

[This], for me, is terribly crucial: that we take up other cultures no longer most effective with the aid of their content, however 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 ‘further-European’ sounds. ‘i'm already back at work on Le “Marteau sans maître”’, he wrote to Stockhausen in August 1954 while on a ship from Brazil to Dakar.Footnote 55 ‘I've introduced returned a haul of ‘exotic’ instruments: wood bells, double bells made 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, but of African foundation).’Footnote fifty six This curious assortment helps Boulez's admission that the timbral palette of Le Marteau sans maître derived from sources past the borders of Europe, but the connection between Le Marteau and Brazil goes a step further. while touring Bahia all the way through the Compagnie's excursions of 1950 and 1954, Boulez and Barrault witnessed non secular rituals that the composer disregarded as ‘ineffectual rites and cults’ and that the actor championed as expressions of the essence of Greek tragedy.Footnote 57 ‘I saw macumba’, Boulez stated – a term that refers to many types of Afro-Brazilian magico-ritual practice.Footnote 58 ‘Some completely incredible things happened’, he endured: ‘I be aware now, for example, that there was a black man who weighed at least one hundred ten kilos, huge’; after getting into trance, ‘he spun like a spinning correct, very straight away’, and whereas ‘all of this … gave the impression very unhealthy and violent at times, it in the end become no longer in any respect, since you've got kids from 4- or 5-years historical within the center of it all’.Footnote 59 What Boulez and Barrault doubtless noticed in Bahia turned into a Candomblé xirê or ‘liturgy’. The term ‘Candomblé’ connotes a number of spiritual practices of West African starting place.Footnote 60 as soon as imported to Brazil beginning within the early nineteenth century, Candomblé grew to become 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, an awful 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 wherein a being, even if black or Indian, unexpectedly finds himself struggling as the Spirit is transmitted to him; the method wherein the medium, after transmitting the Spirit to him, follows alongside this being; the manner in which trances are developed; the ‘purified’ calm that follows; the ritual of those nocturnal ceremonies – all of this struck me, and, so that you can communicate, bound me to these mysterious and endearing americans.Footnote sixty two

it could possibly seem to be outlandish to imply that any part of Le Marteau sans Maître, a monolith of autonomous up to date song, was really modelled after a Candomblé liturgy. whereas Boulez did not explicitly cite the Candomblé as a source for Le Marteau, by using analyzing the ‘Commentaire I de “Bourreaux de solitude”’ alongside Barrault's account, we most likely discern traces of spirit possession taking musical form.Footnote 63 Boulez entire the ‘Commentaire’ in South the usa, mailing the first completed draft to his publisher, popular edition, all through the 1954 tourFootnote 64 – and he had already witnessed Candomblé at least once (if now not a few times) by means of this element. The poetic arc of the ‘Commentaire’ follows that of the Candomblé xirê – or, as a minimum, looks to comply with the ‘ethnographic reconstruction’ of a xirê that you can actually study in Barrault's Nouvelles réflexions, or see in a further contemporaneous source, director Marcel Camus's film Orfeu Negro (1959). while Barrault and Camus each and every grew to become the Candomblé liturgy into an allegory for a sort of timeless (however sooner or later western) spirituality, Boulez relocated the allegory from the stage of illustration to the stage of sound, employing what can be called sonic allegory. Of route, Le Marteau doesn't ‘sound like Brazil’; it isn't a literal reconstruction. Boulez neither mentioned Aeschylus (like Barrault) nor the story of Orpheus (like Camus); instead, I suggest that Boulez's sounds became infused with mythical presence via an allegorical use of the Candomblé.

Figures of the Candomblé liturgy described in ethnographic sources align with the fundamental characters in Barrault's account. In his Nouvelles réflexions, Barrault describes getting into a large gymnasium and watching a gaggle of white-clothed initiates stroll collectively in opposition t their pai de santo, the leading priest.Footnote sixty five Accompanied through the average beat of a drum – possibly performed with the aid of the grasp drummer, or alabé – the practitioners gather earlier than their priest, who is seated next to an altar scattered with Catholic relics and a huge statue of Christ. ‘The look of the priest and his smile’, writes Barrault, ‘the big Christ's sorrow dominating the table, and the pervasive scent of the incense gave an ordinary touch to this small-town cocktail-birthday party.’Footnote 66

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

instance 1 Opening of ‘Commentaire I de “bourreaux de solitude”’. With form permission of well-known edition AG, Vienna.

Warming up with three leaps of a flute, a xylorimba and pizzicato viola playing brief percussive assaults, the ‘Commentaire’ is a rhythmically layered material supported by means of the irregular accents of a body drum (just like the one which Boulez brought home from Brazil). The score partakes of the cryptographic chic: with many changing time signatures, the song looks to conceal an underlying order. Even devoid of cracking the Boulez code, though, we can hear that the ‘Commentaire’ shares a primary rhythmic function with the Candomblé: an everyday pulse – notated with vertical strains within the rating – that will undergird a longer unfolding progression.

In Barrault's account, the normal drum rhythms accompany the practitioners as they sing a ‘canticle’, and then, throughout an interval of silence, the leading priest and practitioners begin smoking ‘cigars … that stimulate hallucination’.Footnote 67 This second of silence is crucial to the overall narrative arc of the ritual that Barrault describes, simply because the insertion of a fermata one third of the way during the ‘Commentaire’ prepares ground for the tumultuous part to observe (illustration 2).

instance 2 A fermata ends the first area. With type permission of time-honored version AG, Vienna.

all the way through the lull, as Barrault accounts, a medium elected through the excessive priest – most likely the babakekerê or pai pequeño (‘little priest’) – starts off to stroll among the many initiates. The drums birth once more; the practitioners sing; the medium wanders amongst them; and as the canticle turns into extra extreme, at last the medium provokes ecstasy: ‘unexpectedly one of the vital choir singers changed into electrocuted through the medium. Like a wounded man he bent forward and moved inside the circle.’Footnote sixty eight Following the motions of this initiate, Barrault begins to insert vocal utterances drawn from a a whole lot distinctive source. ‘allow us to comply with the “wounded” man. originally the others do not notice him … . He appears surprised: “O to to toï”. anything like a burning arrow has caught within the core of his coronary heart’, and with a grimace of ache, he cries ‘Popoï da!’Footnote sixty nine This ‘wounded man’ starts off 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 to whirl circular like a desirable … his face is absolutely deformed … . He occasionally seems to be in contact with the Spirit who clings to his neck and speaks to him; he lifts his eyelids and eyebrows to ask: ‘Apollo, god of voyages, the place are you main me?’Footnote 70

After the fermata, a rise in tempo accompanies an intensification in timbre as the next element of the ‘Commentaire’ commences. The xylorimba participant switches to hard mallets and the tambour participant to four bongos. Boulez notates the heart beat with triangles and brackets instead of vertical traces – pulse areas in preference to diverse beats – and he inserts short-term pauses: we are able to think about the wounded man bending to the aspect for a second earlier than the spasms proceed (illustration 3).

example three A extra severe section erupts after the fermata. With variety permission of established edition AG, Vienna.

The ‘Commentaire’ at last calms, the customary tempo returning because the bongo participant switches again to the tambour; then decrescendo; then lull to a quiet conclusion. it is the intensification midway via this flow, and the subsequent thrashing, jolting rhythms, that betray Boulez's ethnographic source. ‘The candomblé turned into … most magnificent’, he recounted, proposing ‘a mix of sound: the pleasure of the percussion, after which … a calm moment, … all the time with voice – the distinction between percussion-voice, like psalms.’Footnote 71 The four instrumental voices within the ‘Commentaire’ reflect the four leading percussion voices in the xirê: the smallest drum (the lê), the middle-sized rumpi, and the bell (agogô) repeat their own distinctive patterns, while the greatest drum, the rum, organizes the choreography. The rum player, in response to Gerard Béhague, spurs practitioners to trance via techniques of dobrar – or diminution, ‘doubling’ the frequency of repetitions – and virar, suddenly transferring to denser rhythmic patterns.Footnote 72 The intensification midway in the course of the ‘Commentaire’, a kind of virar spurred because the tambour player switches to bongos and because the tempo raises, echoes the form of rhythmic diminution and timbral intensification in which Candomblé drummers thrust practitioners into bouts of santo bruto – or ‘wild god’, an specifically exuberant variety of spirit possession.

This second of spirit possession appears to pose definite questions of an anthropological bent in regards to the Candomblé as a performed event (what's happening? how do practitioners remember what's occurring?) and concerning the Candomblé's authenticity (does a practitioner definitely enter the trance state? does a god basically possess him?). in the state of ‘wild god’, Béhague continues, initiates appear to develop into ‘horses of the deities’ (exin orixá). The ‘notion-photo’ of a selected deity comes down and ‘mounts’ the devotee who enters santo bruto; via a divination game, the main priest interprets these acts of spirit possession to check which orixá has mounted the initiate, who henceforth devotes him or (greater frequently) herself to this deity.Footnote 73 Boulez's commentary that the xirê ‘appeared very dangerous and violent at times’ however ‘sooner or later became now not in any respect’, considering the fact that children stroll among the many practitioners, had implications that the composer may additionally no longer have supposed. Candomblé is itself a form of reconstruction, a deliberate and consciously practised efficiency wherein practitioners can enter another state of focus, but always with a part of control. Santo bruto enables the phantasm, as David Graeber has written almost about certain African fetishes, that the obvious magic one witnesses is both a farce and an authentic non secular transformation. both positions seem to coexist, however impossibly: that the Candomblé is ‘mere demonstrate’ – a god doesn't ‘really’ mount its devotee – and that santo bruto is a genuine technique of becoming. The writhing physique is both an actor and a god ‘in the technique of development’.Footnote seventy four

The seeming or actual presence of gods – depending on one's standpoint – has allowed the Candomblé to develop into an allegory for various kinds of religious adventure. In Barrault's account, it grew to be an allegory for an at 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 deliver music. In Cassandra's opening utterance of the Agamemnon, ‘Ototoi popoi da; Apollo, Apollo!’, unintelligible, foreign syllables burst from her lungs as a choir sings, plenty because the Bahian refrain accompanies the wounded man's spasms. She calls out to Apollo as she prophesies Agamemnon's impending murder, quickly to die with him. whereas sketches of the Compagnie's construction, L'Orestie, are scarce, and Boulez's track is incomplete and no longer performed, i wonder if Cassandra's ecstasies found their way into Le Marteau. in accordance with his and Barrault's plan for the creation, Cassandra's prophecy become to be accompanied with the aid of a long percussion passage (in vicinity of Aeschylus's choir), and one can think about that this track would have sounded lots just like the ‘Commentaire’.Footnote seventy five

in any case, Barrault whitewashed the Candomblé as an expression of primordial Greek-ness. His account concludes with a vignette of himself, back domestic in Paris. He pulls his replica 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 anonymous wounded man's cries and spasms revealed a pure and timeless ‘actual lifestyles’.Footnote 76 A narcissistic projection certainly, the Bahian ritual mirrored for Barrault a deeper Self in the course of the fable of the other: ‘no longer some thing erudite, no longer the noted Greek concord of our grammar schools, not the Greece of bleached statues, however an archaic, juicy, human, anguished Greece in steady contact with the secret of lifestyles: a magical Greece’.Footnote seventy seven

Barrault turned into no longer by myself in viewing the Candomblé as an allegory for a magical Greece. In Camus's Orfeu Negro, released the same 12 months as Barrault's Nouvelles réflexions, the Candomblé becomes a second in Orpheus's journey to the underworld to discover the soul of Eurydice. Set within the mid-twentieth-century slums of Bahia, and featuring Orpheus (played by using Breno Mello) as a black guitarist ready to play on the carnival, Orfeu Negro depicts the Candomblé as an authentic expression of contact between the residing and the useless. 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 by which a female practitioner becomes possessed, writhing and screaming. The Macumba scene culminates as Eurydice's spirit takes possession of an elderly girl standing behind Orpheus: Eurydice's acousmatic voice begs him now not to turn around, and when he inevitably does and sees only an elderly lady, the voice bids Orpheus farewell continually.

Boulez not ever credited the Candomblé as an specific impact on Le Marteau, and not ever would have stooped to the ‘essential ethnographic reconstructions’ that we can examine in Barrault's Réflexions or see in Camus's film. To take the Boulez of 1954 at his note would imply believing that the Candomblé had hardly made an influence on him. The natives exhibited ‘some excellent 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 all the time ineffectual rites and cults for their own ends’. it is conspicuous that Boulez, at this stage of his construction, distanced himself from Artaud – ‘i'm more and more satisfied that Artaud changed into on fully the incorrect song.’ He disregarded the rituals for plenty the same intent that he pushed aside Catholicism (which he ought to have considered mirrored within the Candomblé): worshipping God or the satan, the virgin or the phallus is ‘ineffectual’, in his words, on the grounds that ‘hysteria [is] one of the vital passive states’.Footnote seventy eight To ‘reconstruct’ hysteria in the method of Artaud's Pour en finir, from this point of view, can be to aspire to a ‘passive state’, while Boulez sought something extra energetic and also extra abstract, musically faraway from Bahia. To ‘prepare delirium’ skill to consciously create it, to write presence.

The accents of Boulez's frame drum, unlike a Candomblé bell pattern, are reasonably irregular, hardly ever an ostinato; the voice of Boulez's flute is neither repetitive nor diatonic within the method of a Candomblé vocal melody. Yet this is Boulez's composerly conjuring trick. The rhythmic persona of the ‘Commentaire’ mirrors that of the xirê: beginning with a daily pulse interspersed with accents, Boulez follows the poetic arc wherein a practitioner, guided through rhythmic and timbral intensification, enters an extra state of being. He wrote this being into music. Barrault's all-too-obtrusive allegorization of Candomblé as ‘a magical Greece’ is, I indicate, an apt analogy for Boulez's own (extra covert) appropriation: sound itself grew to be a sort of redemptive western allegory through which Boulez affirmed the mysterious vigor, the fundamental drive, of sound.Footnote seventy nine Even in Béhague's ethnographic account, the energy that music can appear to wield over Candomblé practitioners turns into an oblique allegory for musical autonomy. ‘The instant call to possession’, he pointed out, ‘comes from the tune itself’.Footnote eighty tune wields its personal mysterious powers: the outcomes of the Candomblé drums develop into an allegory for the instant religious energy of the tune itself, a tacit acknowledgement of the autonomy of musical aesthetics. And ‘the tune itself’ turned into the web site of Boulez's personal allegorizing.

Musicology has encountered this situation earlier than. Boulez appropriated an firstly non secular form devoid of its original spirituality, a bid for musical purity along the strains of Igor Stravinsky's disavowal of his personal ethnographic sources. The mythic vigor of a springtime ceremony becomes relocated, through a composer's disavowal of ‘additional-musical’ influences, into the independent area of tune. Debunking this modernist myth of ‘the track itself’, Richard Taruskin cited the various people songs that Stravinsky wrote into Le Sacre du printemps, and tested that Stravinsky invoked the poetics of the rite – whether a virgin sacrifice or the marriage depicted in Les Noces – to carry a primitive immediacy of cognizance. For Taruskin, Stravinsky's autonomous tune become an endeavour to embody in musical form a Eurasianist dream of a united Russian spirit and Russian land between Asia and Europe. It turned into a land floating someplace within the music itself.Footnote eighty one

For Boulez, too, the primitive state evoked by using a ceremony beckoned in opposition t a sonic utopia, however this utopia turned into even less worldly. He didn't call for a new country wide focus, nor did he think about that the sounds of the ethnographic different might discover a more usual or greater optimal political reality. as an alternative, his effort to forge the essence of the other's hysteria with out representing a specific ‘different’ reflected in all probability the oldest, purest, and quintessentially western philosophical dream: ontology.

Conclusion: To have completed with the judgement of Ontology

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

– DerridaFootnote 82

there is most likely no more advantageous time period for Greek essence than ontology. ‘A Greek invention firstly’, to quote Derrida, the term refers to a discourse (logos) about being (on), premised on an ontological change between selected things of the area and their metaphysical floor.Footnote 83 Drawing from Heidegger, Derrida held that ontology presupposes a difference between ‘Seiend (being in English, étant in French, ens in Latin)’, and ‘Sein which capacity 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 occasionally render ‘Seiend as “being” with a lowercase “b” and Sein as “Being” with a capital “B” which is fairly difficult’.Footnote eighty four Lowercase ‘being’ refers to an entity latest in its temporal and spatial specificity – we are able to believe 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 extra abstract experience of presence that's presupposed every time one writes. although, as Derrida contended, ‘Être/Sein is nothing’: there isn't any single ‘essence’ through which to unite different beings, when you consider that ‘which you could on no account discover anything else anywhere that we are able to call Sein, and yet Sein is presupposed each and every time we say “here's a being”’.Footnote eighty five This linguistic change between Seiend and Sein grew to be, in Derrida's philosophy, an ontological différance between the signifier – the selected material note – and the signified, which is top of the line and immaterial. by way of looking at that the signifier and signified, like ‘being’ and ‘Being’, imply diverse and incommensurate temporal orders, Derrida argued that the complete of western metaphysics, which ‘has been constituted in a gadget (of thought or language) decided on the basis of and in view of presence’, had been working under the spell of a fiction.Footnote 86 Presence, or Being, does not ‘exist’ within the strict experience.

Ontology, the bedrock of European philosophy, appears often in Derrida to be little greater than a video game of writing – although removed from inane. it is a discourse that grapples with the nature of being during the emblems; that's, via ‘intent, discourse, calculation, speech – emblems potential all that – and also “gathering”: legein, that which gathers’.Footnote 87 If a logos is a ‘gathering’, ontology gathers many disparate beings under the universal sense of Being. this is why, for Levinas, ‘ontology as first philosophy is a philosophy of power’.Footnote 88 Philosophical discourses about Being had at all times been constituted via a process of appropriation-through-assimilation, because an ontology takes form as the different – whatever is outside of Being – turns into ‘gathered’ inside a western logos. though Levinas articulated this ‘ontological imperialism’ in the abstract, his political implications were clear adequate. As Europe asserted its ‘being’ via economic exploitation and military domination, ontology arose to legitimize the coherency and intellectual supremacy of ‘the West’. This ‘West’, in turn, held ontology as a ‘pure’ and impartial medium to comprehend the realm, on account that ‘Being, with out the density of beings, is the light during which beings become intelligible’.Footnote 89 ‘The West’ gathers itself by subordinating and subsuming something does not enter this mild.

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

Plato talks about an odd ceremony which, on account of circumstances that threatened the future of their race, turned into performed via the kings of Atlantis.

youngsters legendary the existence of Atlantis, Plato describes the Atlanteans as a race of magical starting place. The Tarahumara, who are, for me, the direct descendants of the Atlanteans, continue to commit themselves to the observance of the magical rite.Footnote ninety

All this allegorizing amounted to a navel-gazing fantasy that a deeper Self may emerge from the other, a little like a Catholic go rising from the Mexican soil. ‘Philosophy is an egology’, Levinas declared, as a result of ontology assumes that difference is however a mirage concealing sameness.Footnote 91

by way of disavowing the ‘standard ethnographic reconstructions’ that we can hear in Artaud or read in Barrault, Boulez displaced these specific western allegories onto sound. Sound became ‘radically different’, and écriture grew to be Boulez's ‘impartial medium’. here is ontological appropriation: musical writing becomes the pure mild through which a composer writes the other into the most suitable area of western music. ‘real’ sounds, what Boulez known as pure or impartial sounds, emerged for the composer only when the particular sonic world that he heard in South the usa, or that he encountered via recordings of Laotian or Cambodian music, had been effaced, neutralized, and made part of his abstract musical imaginings.

is that this now not how an ontology – any ontology – is made? A system of extraction and inscription makes fact thinkable beyond misguided appearances, a method of writing that makes the very distinction of reality from look feasible. besides the fact that children, getting to know Boulez could remind us, to play just a little with his own ideas, that sound does not ‘become ontological’ unless it passes through écriture. Ontology is neither a given nor is it a impartial medium – it most effective seems so, as if to name an ontology is to name what in reality is, which is a part of the trick of the time period. Ontology additionally cloaks the actual with a shroud of mystery: a veil conceals many precise voices, ‘individualized’ sounds that fall mute every time an ontology comes into being. And this same veil frequently functions as a bolster for scholarly authority. Ontology is a writerly conjuring trick, notwithstanding a peculiar one since it seems so innocuous, connoting the ‘in itself’ of issues – a true sound beyond language; a presence past what we are able to re-latest.

In contemporary many years, besides the fact that children, many have sought to rescue ontology from its historical baggage as a philosophy of power. For proponents of the ‘ontological flip’ in anthropology, there are many feasible ontologies. The anthropologist's job, in accordance with Eduardo Viveiros de Castro, is not to ‘[explain] the realm of the other’, but instead to ‘[multiply] our world’ – it's, to extend the discursive ‘worlds’ of anthropology by using letting the other continue to be other. ‘The different [is] the expression of a possible world’.Footnote 92 From this standpoint, ontology is not any longer ‘a discourse (trademarks) in regards to the nature of being’, however, as David Graeber writes, has become ‘a word for “being”, “approach of being”, or “mode of existence”’.Footnote ninety three The state of santo bruto can not be judged as true or phony if the practitioner belongs to a completely distinct order of being. Yet, whether it is an ‘illegal flow’, as Viveiros de Castro claims, for the anthropologist to name what appear to be magical moments akin to santo bruto either genuine or false, holding in its place we are witnessing a radically other ontology, then the ethical box turns into flattened.Footnote ninety four The thought that many other worlds exist, protected from the anthropologist's Eurocentric gaze by a look after referred to as ‘ontology’, seems to fall into an ethical predicament widely wide-spread from the days of Franz Boas and his college students. If we location the other in one other ‘possible world’ – which is, in any case, of our making – then there isn't any basis for reality, and no cause to take the other critically. therefore no depend how ‘radical’ or modern, to quote Paul Rabinow, attempts to construct relativistic theories of cultural difference possibility ‘[leading] – despite their intent – to a type of nihilism, a discount of the other to the same’.Footnote ninety five paradoxically, in this flattened field by which many ontologies develop into equally possible, ‘ontology’ regains its long-established which means. If any entity may have or belong to an ontology, then every person and every thing is equally ‘ontological’ (and, then, why now not have ontology on the seaside? or ontology in bed?).Footnote ninety six even though it could seem to be radical to suppose of many feasible ontologies, as soon because the time period is in play, there is simply ever one ontology. It remains a discourse, a light-weight through which to light up ‘beings’, making other worlds part of our personal.

Ontology has now not changed much on the grounds that Derrida or Levinas wrote about ‘the West’. It has best become a kind of trump card for scholarly authority, when you consider that, as Graeber suggests, ‘the problem with cultural relativism is that it areas individuals in bins 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 feel about sound. making use of Eduardo Kohn's quite simple definition of ontology – ‘the analyze of “fact”’ – to the look at of sound, we can see that sound commonly stands for just that: reality.Footnote 98 ‘Noise [is] the ground’, as Christoph Cox writes, ‘that gives the condition of probability for every 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 fabric stream’ that humans can actualize by means of making tune, but which always goes past the human, Cox positions noise as Being itself: the form of presence in which any certain sound or piece of tune can be understood.Footnote 99 United in a task that Brian Kane termed ‘onto-aesthetics’, Cox holds that sound paintings discloses its personal ontological condition simply as Nina Eidsheim holds that definite styles of avant-garde practice – similar to underwater singing – demonstrate the vibrational be counted at the heart of sound.Footnote one hundred while sonic flux resounds past human notion, vibration – which is Eidsheim's replace to ‘noise’ – turns into the elusive pure presence underlying what we will represent. Ontology, in this experience, is a means to reconfigure subjectivity – ‘if we cut back and limit the area we inhabit’ by means of keeping to preconceived notions about sound, she argues, ‘we reduce and limit ourselves’.Footnote 101 A big difference abides between song-as-look (some thing created) and sound-as-fact, and ‘sensing sound’ allows for one to break free of Self-versus-different binaries that at all times ‘cut back and restrict’ our self.

regardless of these endeavours to ethically remediate the thought of ontology, the resonances between our latest-day sonic ontologies and the sonic allegories of Boulez and Artaud's day should make us cautious about the use of ‘ontology’ as a stand-in for reality. Of route, there is a fine distance between Artaud's pure theatre and Mexico, as between Bahia and Barrault's magical Greece. without problems describing Artaud and Barrault's writings is satisfactory to find the ethnocentric approach that we know (by way of now) to have been part of creative modernism. however by some means when the ontology of sound is in question it becomes tougher to answer: where is truth and where is appearance? For Clifford, all ethnography is (in some sense) surrealist as a result of ethnography all the time involves aestheticizing its findings.Footnote 102 The other seems to me during the writing that i know, fitting comprehensible as my illustration; the art forms and expressions of the other resonate with my perception of my own way of life, and for that reason the other's tradition, seen in opposition t mine, becomes a form of paintings. In sum, all tradition may also be some thing of an ethnographic artefact and a piece of art, actual because farce.

If all ethnography employs surrealist procedures, as a minimum tacitly, i might project that sonic ontology-making is surrealistic too. Which quantities to a quite basic conclusion: ontology-making is, after all, just that. A making. however it is a odd variety of poiesis, due to the fact that ontology claims to present issues as they in reality are. thinking via Derrida's conclusions about Artaud, however, i ponder if ontology ‘basically’ receives us closer to the precise. ‘In its closure, it is fatal that representation continues.’ exactly as he sought to disavow an older metaphysical regime – in Derrida's phrases, to ‘kill the daddy’, both the spiritual Father who judges the area 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's already a representation. Presence is a mirage of the true, an illusory sur-truth vanishing like sound. we can see the limits of representation, its closure, but we can't movement past it. as a substitute, sound stories commonly ‘reconstructs’ an historical modernist conjuring trick. Ontology-making conceals the maker, fitting one other discursive guise for western Writerly Authority. possibly it is time to find a new device. Or reasonably, possibly it's time to have executed with the self-esteem that sends us on countless discursive quests for sound past the human, or sound ‘put up’-human. let us dispense with truth as soon as and for all.

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