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Ontological Appropriation: Boulez and Artaud | ITILFND exam Questions and Latest Topics

In his 1963 article ‘Dire, jouer, chanter’, Pierre Boulez (1925–2016) defined his use of certain unique sounds in Le Marteau sans maître. ‘I chose this “physique” of contraptions with the have an impact on of added-European civilizations’, he wrote: ‘the xylophone transposes the African balafon, the vibraphone refers back to the Balinese gender, and the guitar remembers the eastern koto’.Footnote 1 The composer insisted, although, that ‘neither the vogue nor the very use of those contraptions is connected in any technique to the traditions of those different musical civilizations’.Footnote 2 Boulez didn't need to symbolize the song of peoples backyard Europe as an ethnologist could when organizing artefacts into a colonial exhibition. reasonably, as soon as purified of context, these sounds would ‘enrich the european sonic vocabulary through extra-European listening’, and, Boulez hoped, have a clean and estranging impact on the listener acquainted with traditional western timbres. With this movement, Boulez also hoped to sever his chosen sounds and harmonies from the old baggage of the classical lifestyle, and as a consequence to extend the presence of music in its second. during this endeavour he took a cue from the creator of the Theatre of Cruelty. ‘song should still be collective hysteria and enchantment’, wrote Boulez in 1947, ‘violently up to date – following the direction of Antonin Artaud, and not an easy ethnographic reconstruction within the image of civilizations extra or much less far off from us’.Footnote three

What does it suggest for a composer to take sounds from the ethnographic different devoid of ‘reconstructing’ the different? this article will argue that Boulez's endeavour to aestheticize the ‘hysteria’ he perceived within the way of life of the other was a second of ontological appropriation, turning the different into sound. Composers of art music had lengthy sought sparkling styles and new sounds by means of reconstructing a non-European different, no matter if through Mozart's imitations of Turkish music, 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 applicable ‘added-European’ sounds grew to become primarily ‘ontological’ via the mid-twentieth century. Boulez's purpose changed into no longer to reconstruct a particular different. somewhat, sound was the other: it emanated from someplace extraordinary and primitive, carrying a visceral immediacy that may well be leveraged to puncture the façade of western musical that means. Boulez sought a compositional system that might, to use his own term, render sound impartial: a sonic coloration instead of a musical sign; a ‘pure’ first-rate instead of a illustration.Footnote four i will argue that Boulez's compositional approach prefigured contemporary claims on behalf of the ontology of sound: that sound can put us involved with a global more real, or most likely that sound effortlessly is the precise. This look for pure sound, a ordinary chorus of twentieth-century musical modernism, is, and always has been, inherently ethnocentric. it is a procedure of creating sound ontological.

whereas 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 in the first section of this text, i exploit Artaud as a foil to explore how Boulez's concept of musical writing – or écriture, his medium to put in writing sonic ‘hysteria’ – took form as he distilled and sublimated otherness. while Boulez credited Artaud with forging a method of expression that would re-create ‘collective hysteria and enchantment’ without meaning to realist ethnographic illustration, the composer endeavoured to push Artaud's expressive style beyond what even the theatre guru had accomplished. For Artaud frequently 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 efficiency that well captured, as Boulez put it, ‘the primary preoccupations of tune today’.Footnote 6 Boulez's exoticism, in contrast, was greater veiled: instead of observe Artaud to accentuate the alterity of the different, Boulez sought instead to purify or occlude otherness, a stance that will also be viewed as continuous with surrealism.

The strategy Boulez took to sound can be known as ‘ontological’ because he treated sound as something more ‘true’ – extra evocative and strong – than anything that had been, or may be, expressed in the course of the normative musical languages of the western way of life. In what follows, i will be able to first indicate that Boulez's philosophy of writing hinged on an ideological difference between ‘the West’ and the rest, after which 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 by no means acknowledged outright: Afro-Bahian Candomblé. i will be able to imply that Boulez modelled the poetics of one stream of Le Marteau sans maître, the ‘Commentaire I de “Bourreaux de solitude”’, on the ritual of spirit possession he witnessed in Bahia within the company of actor and director Jean-Louis Barrault (1910–94). 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 directly – took sonic kind in Le Marteau. As Boulez modelled the ‘Commentaire’ on a fictive narrative of spirit possession, I indicate, sound grew to become an allegory, a determine for an usual essence and a form of elemental drive.

Boulez's sounds are still with us today. Following Christoph Cox or Nina solar Eidsheim, one might argue that a supra-audible ‘sonic flux’ or truth of vibrating count exists past human belief, a virtual floor for the sounds that we actualize when we make song.Footnote 7 The concluding component of this article suggests that each student who holds that sound is a hyperlink to the real, to a reality past or at the back of what we can comprehend and symbolize, implicitly relies on a concept of sound as allegory – a concept that links sound reports to Boulez and a gaggle of his contemporaries in France. This attitude in opposition t sound, commonly touted as a way to believe beyond entrenched West-versus-East and Self-versus-different dualisms, dangers re-inscribing these dualisms on an ever-deeper stage. The difficulty is not with thinking imaginatively about sound, however with the philosophical concept that guides scholars to take sound as an allegory for actuality and truth: ontology.Footnote eight

The time period ‘ontology’ has enjoyed a resurgence of late as a marker of a kind of cultural relativism following the ‘ontological flip’ in anthropology and as an alternative to ‘aesthetic autonomy’ in sound stories. besides the fact that children, i am not satisfied that the thought of ontology can also be purged of its historical past as a ‘philosophy of power’, to quote a phrase from Emmanuel Levinas.Footnote 9 The very thought of ontology presupposes a relation between the knower and the prevalent such that the usual entity, by fitting an object of competencies and a figure of western writing, loses its alterity.Footnote 10 Levinas coined the term ‘ontological imperialism’ to describe the grasping egotism during which ‘the West’ constitutes itself through first imagining and then incorporating the different.Footnote eleven To the extent that Boulez tried to transmute ‘extra-European’ sounds into the realm of musical writing, he changed into an ‘ontological imperialist’. He constituted an idea of sound, now not by representing the different as different, but by subsuming the other into the identical. recent scholarship, too, treats sound as a figure of radical alterity, yet sonic allegory becomes a means to bolster scholarly authority. the search for ‘pure’ sound has an unacknowledged modernist background.

Boulez, Artaud, and the ethnographic other

‘by the time he turned into eighteen’, biographer Joan Peyser writes, ‘Boulez had turned towards his father, his nation, and every little thing else that had been held up to him as sacred … . He repudiated Catholicism, spouting Latin obscenities when he turned into inebriated … he certainly not studied below anybody man for any size of time, “detesting the father-son relationship”.’Footnote 12 whereas this section of Boulez's formative years certainly had a powerful Oedipal dimension, it changed into Boulez's defiance of the position 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 study his personal texts at Paris's Galerie Loeb in the summer of 1947, witnessing the dramatist performing the styles of vocal expressions that would be recorded by the Radiodiffusion Française later that year.Footnote 13 the published Pour en finir avec le jugement de Dieu (recorded in November 1947) files Artaud during a period of quick real decay following a sequence of electroshock remedies administered towards his will on the Rodez asylum (1943–forty six).Footnote 14 The forty-minute broadcast includes readings of Artaud's texts by way of the writer himself, his pal (and later literary executrix) Paule Thévenin, and the actors Maria Casarès and Roger Blin. Censored with the aid of Radiodiffusion Française (RDF) simply before its optimal in 1948 (due in massive part to Artaud's inclusion of anti-American rhetoric, ill-timed in the wake of the warfare), 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 excessive register: ‘I learned yesterday’, and then pauses. His pacing deliberate, his rasping voice swooping low, he describes ‘one of the most sensational authentic practices of public American faculties’: a ‘sperm examine’ by which all younger boys are required to supply sperm for the govt to construct a synthetic army. the united states not simplest manufactured people, but also warships and plastic consumer products, inaugurating ‘le règne … de tous les fake produits fabriques’ (‘the reign of fake fabricated items’) and changing every thing natural with ‘les ignobles ersatz synthétiques’ (‘lousy ersatz synthetics’). These phrases come on the conclusion of a sequence of short phrases wherein Artaud crescendos, charging the textual content 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 big energy to produce a guttural growling; and earlier than the remaining syllable of synthétiques, he pauses as if out of breath, setting apart the remaining ‘-que’, a percussive click on, from the relaxation of the phrase. Artaud believed within the track of spoken utterance, in the voice's skill to create which means via its own contours, every so often bolstering the literal meaning of a text or – during this case – working against the meaning of the words (‘fabriques’, ‘synthétiques’).Footnote 16 He rails towards an ersatz, synthetic American conflict laptop after which introduces a contrasting figure: ‘i really like most the individuals who devour 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 talk of the Tarahumaras … . therefore you'll hearken to the dance of the Tutuguri.’Footnote 17

The collective enchantment that enthralled Boulez turned into therefore performed during the rites of the Rarámuri of the Sierra Tarahumara, whose peyote rituals, Artaud claimed, revealed a primordial state of being. After a silence, the subsequent part of Pour en finir begins as Artaud screams, a pair of drums and a gong accompanying his ululations as he soars into his intense upper register. This crude ‘ethnographic reconstruction’ of a primitive ritual seems to account, looking back, for the stammering articulations and lengthy 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’ text, her enraptured voice vibrating as Artaud's shouts proceed. This textual content describes a ritual through which six Rarámuri men, every symbolizing a solar, encompass 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 results’, and his effort to push vocal utterance past what any written text can carry, felt like an affirmation of the emerging musical language that the composer changed into in the method of conceptualizing and placing into follow. ‘i am not certified to focus on Antonin Artaud's use of language’, he wrote,

however i will be able to look at in his writings the fundamental preoccupations of music these days; hearing him examine his own texts, accompanying them with shouts, noises, or rhythmic consequences, has shown us a way to affect a fusion of sound and notice, how to make the phoneme burst forth when the word can now not achieve this, in short a way to organize delirium.Footnote 18

Boulez's efforts to ‘take delirium and, sure, arrange it’, besides the fact that children, 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 solid in his Piano Sonata no. 2 (1948), written after Boulez heard the raving dramatist in person.Footnote 19 all the way through the climax of the fourth and remaining movement, Boulez prompts the performer to ‘pulverize the sound’ in a brief passage composed of a quick-fire succession of quavers and semiquavers leaping between the excessive excessive and low registers of the piano – rhythmic consequences. This harried lower back-and-forth action culminates with suddenly attacked chordal clusters – shouts – before a sequence of related pitches within the left hand (marked ‘Élargir rapidement’: expanding immediately) winds upwards against a group of descending dyads in the severe high range – noises. Boulez commands the pianist to play ‘in a extremely potent color’, to sound ‘exasperated’, setting out an additional phrase of leaps.

Boulez put little inventory in verisimilitude, refusing musical ‘themes’ that his listeners or critics could have taken to characterize photographs or scenes in a story mode. however despite the fact he downplayed the representational feature of song – simply as he disdained ‘primary ethnographic reconstruction’ – Boulez's musical gestures had been commonly visceral, demanding an identification between his listeners and performers on a corporeal degree. His early pianistic language may not ‘symbolize’, but definitely gifts quick leaps, sweeps, and chordal clusters, modes of attack that have been a part of the composer's endeavour to forge a new type of musical journey – a pianism in any other case.

Boulez's conception of écriture, the French term that connotes now not best literal inscription but additionally the symbolic reasoning at the back of it,Footnote 20 took form via a compositional follow that consisted of developing contrasts such as that between the leaping attacks of the Piano Sonata no. 2 – wherein pitches seem to be either isolated or slammed together – and moments by which successive notes are smoothly connected into lyrical fragments. Boulez's musical language consisted of opposing features like this, a dialectical approach to timbre and phrasing that Jonathan Goldman describes via various binaries: determine versus constitution (i.e., part versus whole), chord-figure versus interval-scale (i.e., ‘chord’ versus ‘scale’, or vertical versus horizontal construction), and smooth versus striated time – the record goes on.Footnote 21 Boulez owed this method partially to the voice that we can hear in Pour en finir. Rasping and low in a single moment, then quietly drawing breath; all at once 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 and every stream structured around a distinction between longer resonant tones and brief percussive assaults, the violent oppositions of vocal sounds echo in ever more abstract form.Footnote 23 the primary four bars of circulate 1b of the Livre, for instance, feature a collection of intervallic leaps, beginning within the viola and echoed by way of the violin, which sustain lengthy tones within the upper register against a quiet cello assault beneath, pizzicato. After a fermata, the 2nd brief phrase is abrupt, the cello dashing upward to fulfill the trills and pitch clusters in the violins

Scholarly writing on Boulez, which seldom addresses the query of otherness, is regularly caught in a hermeneutic ‘double bind’. by way of drawing near the track as an object that requires laborious decoding (searching for the tone rows and tracing their genealogies, for instance), we in all probability pass over some of its most brilliant qualities.Footnote 24 One doesn't need to pay attention ‘hermeneutically’ to hear that the ethnographic other is easily there in the track; yet when we delve beneath the surface for compositional approaches and deep constructions, the different vanishes. here is a problem that seems to hang-out reports of Boulez (and, extra frequently, of serialism): the rigorous strategies employed in creating this tune seem to demand decoding, as if there is all the time a hidden order in the back of each musical utterance. but precisely when we interact in decoding, the song's ‘otherness’ is concealed.

This double position, i want to suggest, became part of Boulez's distinctive mode of appropriation. In contrast with Artaud, who sought to latest the ‘additional-European’ as radically other, Boulez sought to occlude change, and musical writing turned into his medium to do so. This mode of appropriation panic a particular perspective in opposition t sound and writing that Boulez acquired partly via Artaud, however also via a bigger stream of which Artaud become – at the least firstly – a component. though he broke from the legitimate surrealist neighborhood led by way of André Breton (1896–1966) in or about 1926, Artaud retained whatever thing of the surrealist perspective towards cultural order and meaning. This attitude needed to do with re-assessing ‘the West’ in relation to its newly exhibited others: as James Clifford has counseled, the artefacts imported from France's colonial possessions indicated – to Breton and to different surrealists – that ‘way of life and its norms – attractiveness, reality, reality’ have been only ‘synthetic arrangements, prone to indifferent evaluation and evaluation with different possible tendencies’.Footnote 25 detached evaluation and assessment had been critical in the rising ‘ethnographic surrealist’ view of cultural order – a view in response to which western tradition is in simple terms an arbitrary collection of indications able to be reconfigured and jumbled like objects on monitor in an ethnographic museum. We could call the surrealist mode of appropriation, then, a symbolic mode, considering that the poet turned into to engage with society's indications on a second-order level of observation: fragmenting and juxtaposing verbal signifiers in order, as Breton once quipped, to widen the gaps ‘between the words’. in the course of the hodgepodge common sense of the dream, Breton's surrealism aimed to re-applicable society's signals to new expressive ends.Footnote 26

while 2d-order reflection on tradition and its indications was a necessary factor of the ethnographic surrealist outlook, Artaud took a different tact: the ‘extra-European’ looks to have impelled him to accentuate the first-order gut reactions you can actually have within the presence of efficiency. Artaud's mode of appropriation might premiere be termed an affective mode because of the emphasis he placed on bodily immediacy: he sought to plunge headlong into the unconscious abyss that Breton's surrealism unfolded ‘between the words’. ‘it is fundamental to place an end to the subjugation of the theater to the text’, Artaud declared in his 1932 Manifesto of the Theater of Cruelty, ‘and to get better the inspiration of a kind of wonderful language half-means between gesture and concept’.Footnote 27 The sound of Artaud's voice, echoing in Pour en finir, gives us a sense of how this language become to work. phrases become gesture during the act of enunciating them with surprising shouts, leaps, and screams – it truly is, by filling the gaps ‘between the phrases’ with sound. The normative written techniques of western theatre were hence insufficient to come up with the money for the sort of expression that Artaud sought to make obtainable. The actions and utterances of Artaud's choicest theatre would are living handiest for a moment, beyond what can be written and repeated from studying 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 observed is not nonetheless to be said … that every one words, once spoken, are useless and performance most effective in the intervening time when they are uttered’. this is why ‘the theater is the simplest area in the world the place a gesture, as soon as made, can not ever be made the same approach twice’.Footnote 28 At stake for Artaud become the competition that the lifestyle of the West had been dominated via a theological metaphysics based on which lifestyles on the earth – like the actions on a stage – are subordinate to an original presence, the Divine notice contained in the texts of the Bible, or the theatrical word written in a phonetic script. ‘Cruelty’ no longer handiest intended engulfing viewers in a sensory barrage – producing the kinds of visceral gestures that we will hear, as an example, when Boulez's pianist ‘pulverizes the sound’ – however additionally demanded a commitment to staying as close as possible to the limit of representability.Footnote 29 as opposed to confront society on the degree of its representations, Artaud dreamed of a pure presence, a great of immediacy and un-representability. hence the Theatre of Cruelty, in Jacques Derrida's phrases, will be the art of ‘pure presence as pure change’: it could circulation like a language, carrying a signifying force, yet with out forming iterable signs.Footnote 30 Producing an at all times-renewed impact of presence, a merciless theatre would are seeking for to elide the stream and mechanisms of re-presentation.

however, like Boulez, Artaud necessary writing. As we've already seen, ethnographic reconstruction changed into a part of how the dramatist enacted his ‘pure presence’, and he expected Boulez's personal seek a new form of writing that might organize the delirium that Artaud imagined to emanate from Mexico or in different places. Artaud saw a imaginative and prescient of this new writing when he witnessed Balinese theatre at the 1931 Exposition coloniale held within the forest of Vincennes outside Paris. There, the French government hosted organizations of americans from Africa, Oceania, West India, and different colonies to display arts, to make meals and crafts – including the Oceanic artefacts that interested Breton – and to function song and dance like the Balinese spectacles that Artaud witnessed, claiming that the Balinese embodied ‘the theory of pure theater’.Footnote 31 it's uncertain (to us) what Artaud really noticed at the Exposition, although he wrote of Balinese theatre as if it become a collage of ritualistic movements, song and poetry, costume and different visual aspects – all appearing before his eyes as a form of hieroglyphic writing. These ‘spiritual signs’, he declared, ‘[strike] us only intuitively however with sufficient violence to make needless any translation into logical discursive language’.Footnote 32 The non-phonetic writing of Artaud's most advantageous theatre would organize configurations of our bodies and objects, mapping out events; hence it will silence the voice of the absent writer-creator, all in an endeavour to approximate the immediacy of ‘chinese language ideograms or Egyptian hieroglyphs’. instead of inscribe communicate, staging instructions, etc, this writing would without delay deal ‘with objects … like photos, like phrases, bringing them together and making them reply to every different’.Footnote 33 youngsters, while this new non-phonetic writing would bypass the written voice of the author, it could not silence the voice of the actor. far from it: Artaud insisted that the hieroglyph would supply a new vicinity to voice, to the true embodied voice onstage, considering vocal sounds would now not be texted, reproducible, and representable. He dreamed of a radically different voice.

Boulez stood at a distance from the symbolic and affective modes of appropriation that characterized Breton's surrealism and Artaudian cruelty, however, as I actually have recommended, Artaud's vocal sounds endured to echo under Boulez's pen. we are able to 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 gut reactions via musical violence, he also reflected – in published essays and later lectures – on the strategies through which this violence could be produced. He sought a method in which to build upon the ‘pure presence’ of Artaudian expression, taking up Artaud's aesthetic most reliable into a fantastic musical writing. With the emphasis he placed on writing and constitution, for this reason, Boulez placed himself as part of a lineage of French artists and intellectuals main from the ethnographic surrealist second of Paris's interwar years against the mid-century, by which gigantic theoretical weight grew to be attached to the idea that way of life is written. The surrealist conviction that beauty, reality, and fact are mere products of symbolic preparations laid the groundwork, as Clifford recommended, for the ‘semiotic’ view of cultural order that you'll examine, for instance, in Roland Barthes's famous declare that ‘everything may also be a myth, supplied it is conveyed with the aid of a discourse’. If way of life is a set of indications, then forms of discourse – ‘modes of writing or of representations; not handiest written discourse however additionally images, cinema, reporting, game, indicates, publicity’ – inevitably entwine themselves with vigor.Footnote 35 Artaud, in in search of a sort of vocal utterance past the ‘mythical speech’ that had upheld bourgeois normativity, gave a particular privilege to sound as a automobile of transgression – this is the form of sound we can hear in Boulez.

Boulez's stance towards sound was imminently surrealist given that it changed into a musical response – albeit a very summary response – to the transgressive aesthetic put forward all over the surrealist years. As Clifford wrote, ‘the exotic [was] a major courtroom of appeal towards the rational, the captivating, the commonplace of the West’, permitting thinkers within the surrealist camp equivalent to Georges Bataille – inheritor of a transgressive avant-garde spirit that dates returned as a minimum to Baudelaire – to deconstruct the hallowed beliefs of western subculture by means of claiming that every cultural norm includes and conceals its obverse. Tonal harmony, on this view, is one European social myth amongst others, drained and two-faced: confront tonal harmony with its different – dissonance – or confront good with evil, piety with perversion, and possible see that each norm carries the seeds of its own dissolution. This valorization of transgression, in Clifford's words, ‘[provides] an important continuity in the ongoing relation of cultural analysis and surrealism in France’. The existing article is meant as an entryway to examine the position that music and sound performed in setting up this transgressive aesthetic – a classy that hyperlinks ‘the twenties context of surrealism suitable to a later era of radical critics’.Footnote 36 The jumble of non-European indications introduced at colonial exhibitions (and later housed within the Musée de l'Homme) not most effective prefigured the semiotic view of cultural order in vogue by Derrida's day, but also counseled that new and violent sounds – ‘shouts, noises, and rhythmic consequences’ – may echo from between the cracks in western cultural which means. via liberating a circulate of speech via surrealist automatic writing, or by shouting, stuttering, and talking in tongues, sound grew to be ‘other’: that which resounds beyond the norms of pictorial and linguistic representation, ‘between the phrases’. hence the free play of signs was no longer best Oriental, but turned into above all sonic. this is the Artaud that Boulez discovered so captivating:

[B]y an altogether Oriental means of expression, this objective and concrete language of the theater can facilitate and ensnare the organs. It flows into the sensibility. leaving behind 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 highbrow subjugation of the language, by means of conveying the feel of a brand new and deeper intellectuality which hides itself under the gestures and indications, raised to the honor of particular exorcisms.Footnote 37

Ontological appropriation

In his disavowal of ‘ethnographic reconstruction’, we can feel that Boulez distanced himself from Artaud while he drew concept from the theatre theorist. The ethnographic other changed into now not a favourable option to ‘the West’ for Boulez. although, as i hope to demonstrate, Artaud and Boulez each participated in the mutual development of ‘the West’ as antagonistic to ‘the leisure’, an opposition that undergirded each and every artist's primary views about their respective media – theatre and music. Boulez's mode of appropriation turned into ontological as a result of he aimed to reconstruct the ‘hysteria’ of the different at an ontological remove from any specific people or location. He whitewashed ‘additional-European’ sounds in an endeavour to create what he called ‘pure sounds – fundamentals and natural harmonics’ that may be subsumed inside a musical material.Footnote 38 This procedure of purification was all the time part of Boulez's stance in opposition t sound, a part of his own transgressive modernist aesthetic. Yet, as this area will reveal, the seek a new sort of écriture tied Boulez and Artaud to a a good deal older, and explicitly ethnocentric, philosophy of writing.

In practice, Boulez's écriture was a medium to organize delirium, and in concept, too, écriture hinged on a distinction between individualized sound and neutral sound, itself a species of a extra universal dichotomy between a western self and the ethnographic different. ‘The more a sound has excellent particular person features, the much less conformable it can be to different sounding phenomena’, in its place ‘[preserving] its own particular person profile’, pointed out Boulez in a 1994 lecture on the Collège de France.Footnote 39 during this he echoed a trope that he had voiced tons prior in a 1949 preface to John Cage's Sonatas and Interludes. Expressing a deep respect for Cage's use of ‘non-tempered sound spaces’ in addition to ‘sound complexes’ in his experiments with the prepared piano, Boulez then again counseled (fairly subtly at the time) that his American correspondent was barking up the wrong tree.Footnote 40 Cage did not produce pure sound, relying as a substitute on the individualized qualities of sounds crafted from placing bits of steel, screws, and paper clips amid the piano strings. This endeavour, inspiring and clean although it became for the young Boulez, in the end constituted a regression in musical pondering. In a 1972 dialog with Célestin Deliège neatly 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): ‘in the song of some African peoples (now not essentially the most totally-developed from the musical aspect of view) we discover an instrument, the sanza, that has vibrating blades [which] may make up a impartial universe – they kind a scale that's mounted and modal, as all African scales are.’Footnote forty one with out the mutes and resonant rings that mbira gamers connect to the vibrating blades, the sounds of the blades ‘might’ be impartial, simply as the notes of a piano are impartial before a composer inserts debris between the strings.

Boulez's point out of an African instrument bespeaks the composer's activity in non-European devices, an pastime that he developed fairly early in his musical lifestyles as he honed his composerly advantage through transcribing musics from outdoor Europe – a tradition that obviously informed Boulez's view of individualized versus neutral sound. right through the summer time of 1945, whereas a scholar on the Paris Conservatoire, Boulez heard Balinese song in a class with Olivier Messiaen, and as he would later account, ‘dreamed, for a second, of focusing on musicology: not within the look at 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 became now not only a dream: after paying attention to discs of numerous non-European musics, Boulez deliberate to go on an ethnological day trip to Cambodia and Laos hosted by using the Musée Guimet in 1946, a voyage immediately cancelled as the First Indochina struggle broke out that winter.Footnote 43 In education, however, Boulez transcribed quite a few songs together with a ‘Laotian song of possession’ for 2 voices.Footnote forty four This turned into an ethnographic reconstruction within the most literal experience: in response to Luisa Bassetto, the composer seemingly jotted down this track – in addition to others from Cambodia and Cameroon – rather quickly, in all probability as a part of a dictation check in advance of 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. effectively reconstructing (i.e., transcribing) the sounds of ‘extra-European’ ritual or spiritual follow didn't go some distance sufficient for the restive composer, who finally did not searching for ethnomusicological talents for its personal sake, however rather for the sake of increasing the timbral and rhythmic probabilities obtainable in new track.

Boulez adopted (via default) a Eurocentric view in accordance with which musical writing allows for a stage of abstraction and class unknown in cultures that lack a written musical system, and his transcriptions of these songs supply us a hint about what neutral sound got here to mean for him. while the recordings housed in ethnographic collections – including those of André Schaeffner, whom Boulez would meet in 1949 and with whom he would correspond for very nearly two many years – exerted a particular attract for the composer, he turned into most attracted to exploring what a song of spirit possession may become during the act of transcribing it and researching its written form. while Cage (from Boulez's standpoint, anyway) most likely would have believed that the specific traits of sounds – Laotian or in any other case – had been wonderful enough on their personal, Boulez felt that in basic terms letting sound be sound (to paraphrase a smartly-worn Cage-ism) become inadequate. Sound had to pass in the course of the medium of écriture – Boulez's medium – to actually become tune. there is most likely no more advantageous summation of Boulez's take on the change between his and Cage's approaches to sounds – and, for our purposes, of Boulez's personal sense of the change between individual and impartial sounds – than his remark in the 1949 Cage essay: ‘Noise does indeed have a really incredible immediate real effect, but using here is dangerous, on the grounds that its novelty unexpectedly wears off’.Footnote 46 Noise can strike us powerfully, but best so repeatedly. Buzzing and twanging are inadequate. with a purpose to retain the immediate physical effect of noise, most likely to base a musical language on its visceral presence, a composer need to put sound via écriture.Footnote forty seven

For Boulez, Cage's method to sound turned into no longer handiest flawed; it turned into primitive. ‘In that sort of musical civilization’ – Africa – ‘and with an instrument of this style’ – the mbira – ‘the procedure has each justification’: those civilizations are standard.Footnote 48 nonetheless it would be unjust and ‘contrary to the whole evolution of music’ for a eu composer ‘to delimit an instrument inside enormously general and individualized characteristics, seeing that we are relocating more and more in the direction of relativity’, that is, in opposition t rendering sound impartial.Footnote 49 most effective impartial sounds can be subsumed right into a broader texture, enabling their ‘genuine’ individuality to ring.

Of direction, Boulez's particular strategy to sound evolved: the violent gestural language of the Deuxième sonate, the gadget of total serialism during which Boulez composed buildings I (1952), and the computers in use at IRCAM two many years later, represent different moments in Boulez's construction – he was always on the stream. Yet, regardless of the numerous strategies that Boulez cultivated, his elementary view of sound and writing looks not to have changed right through his profession. ‘neutral’ or ‘pure’ sound changed into a lasting conceit, and on the grounds that sound can best be ‘impartial’ as soon as it's written – that's, as soon as it passes via écriture – neutral sound is simply available to a western composer whereas unwritten ‘additional-European’ sounds are all the time ‘individualized’. The term écriture, hence, no longer most effective connotes a compositional system – which may additionally exchange via time – but also, greater basically, includes a philosophical view of writing premised on the difference, formally and ideologically, between individual (primitive) and impartial (written) sound. Like certainly one of his early influences, Boris de Schloezer, Boulez believed that écriture allowed for an idealization of sound that was unimaginable, as soon as once again, in cultures that lack a written language. The equal yr he heard Artaud at the Galerie Loeb, Boulez studied Schloezer's newly posted Introduction à J.-S. Bach (1947), wherein the musicologist, looking ahead to Boulez's personal perspective against the mbira, claimed that non-western musical cultures were limited to the fabric situations of their instruments. ‘The essential characteristic of the area elaborated by using western musical culture’, Schloezer trumpeted, ‘is its complete independence from sonorous fabric.’Footnote 50 even though these remarks are available the context of a piece dedicated to Bach, at this moment of the text Schloezer's argument turns into vast and sweeping, having greater to do with an important view of western versus non-western musical programs than with any certain composer. throughout the medium of writing, a composer takes a sound as a ‘number’, no longer as a fabric element, amounting to a ‘dematerialization’ of the sound house.Footnote 51

It is thru Schloezer's affirmation of the western composer's writerly authority – his claim that the ‘inventive act of the artist is to embody this number, to can charge it with a definite fact, to confer a qualitative value upon it’ – that we are able to hear the echoes of an earlier philosophy of writing. via putting forward that western phonetic writing is the Aufhebung or ‘sublation’ of non-western types of writing, G. W. F. Hegel carried out the variety of ‘dematerialization’ that characterized Schloezer's concept of the western sound area. ‘Intelligence expresses itself automatically and unconditionally through speech’, Hegel proclaimed, declaring that hieroglyphic or pictographic scripts are basically cloth.Footnote fifty two A pictogram creates meaning through the physical trace of a word, whereas phonetic writing activates the medium of voice, floating free of materiality.

at the same time as Artaud disdained the metaphysics of phonetic writing, he nonetheless relied implicitly on this metaphysics. according to this metaphysics – which Derrida famously termed logocentrism – the presence of voice, of vocal sound, promises western sorts of writing a privileged ontological status.Footnote fifty three notwithstanding 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 present in Hegel's philosophy. And even if Boulez's own musical writing become certainly not, strictly speaking, ‘phonetic’, écriture turned into his car to subsume expressions drawn from sources outside of Europe. as a consequence the space between ‘us’ and ‘them’, between ‘the West’ and the leisure, became no longer handiest affirmed but additionally served as a primary premise of Boulez's musical language throughout the a variety of ranges of his development. to hear how Boulez ‘dematerialized’ the sounds of Europe's others in a somewhat later part, allow us to follow 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 ‘take in’ non-European sounds into the abstract and premiere house of western tune.

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

[This], for me, is very crucial: that we take up different cultures not only by way of their content material, however additionally by the way they're transmitted via sound.

– Boulez, from a late interviewFootnote 54

as the musical director of the Compagnie Renaud-Barrault (from about 1946 to 1956), Boulez encountered many ‘further-European’ sounds. ‘i am already lower back at work on Le “Marteau sans maître”’, he wrote to Stockhausen in August 1954 whereas on a boat from Brazil to Dakar.Footnote 55 ‘I've brought again a haul of ‘exotic’ devices: wooden bells, double bells product of iron [‘cloches doubles en fer’], Indian flute, little Indian guitar, frame drum, bells [‘grelots’], Jew's harp [‘birimbao’] (a really curious instrument from Bahia, but of African starting place).’Footnote 56 This curious collection 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 extra. while travelling Bahia throughout the Compagnie's excursions of 1950 and 1954, Boulez and Barrault witnessed religious rituals that the composer brushed aside as ‘ineffectual rites and cults’ and that the actor championed as expressions of the essence of Greek tragedy.Footnote 57 ‘I saw macumba’, Boulez mentioned – a time period that refers to many types of Afro-Brazilian magico-ritual follow.Footnote 58 ‘Some absolutely brilliant things happened’, he continued: ‘I be aware now, for example, that there became a black man who weighed at the least one hundred ten kilos, big’; after getting into trance, ‘he spun like a spinning accurate, very without delay’, and whereas ‘all of this … seemed very bad and violent from time to time, it in the end turned into now not in any respect, seeing that you have kids from 4- or five-years historical in the core of it all’.Footnote 59 What Boulez and Barrault seemingly saw in Bahia become a Candomblé xirê or ‘liturgy’. The term ‘Candomblé’ connotes a lot of spiritual practices of West African foundation.Footnote 60 as soon as imported to Brazil starting within the early nineteenth century, Candomblé became a fancy syncretism of African and Catholic beliefs – still these days, Yoruba and Fon deities (orixás) are often idolized as Catholic saints. In a later interview with O'Hagan, Boulez expressed awe on the percussion of the general 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 sixty one

The manner in which a being, no matter if black or Indian, suddenly finds himself struggling because the Spirit is transmitted to him; the method wherein the medium, after transmitting the Spirit to him, follows alongside this being; the manner wherein trances are developed; the ‘purified’ calm that follows; the ritual of these nocturnal ceremonies – all of this struck me, and, to be able to communicate, sure me to these mysterious and endearing people.Footnote 62

it may well appear outlandish to suggest that any part of Le Marteau sans Maître, a monolith of self sufficient contemporary music, changed into really modelled after a Candomblé liturgy. whereas Boulez didn't 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 in all probability discern traces of spirit possession taking musical form.Footnote 63 Boulez accomplished the ‘Commentaire’ in South the united states, mailing the first completed draft to his writer, usual version, right through the 1954 tourFootnote sixty four – and he had already witnessed Candomblé at the least as soon as (if now not several instances) by way of this element. The poetic arc of the ‘Commentaire’ follows that of the Candomblé xirê – or, as a minimum, appears to follow the ‘ethnographic reconstruction’ of a xirê that you'll be able to examine in Barrault's Nouvelles réflexions, or see in one more contemporaneous source, director Marcel Camus's film Orfeu Negro (1959). whereas Barrault and Camus each became the Candomblé liturgy into an allegory for a form of timeless (but subsequently western) spirituality, Boulez relocated the allegory from the level of representation to the level of sound, employing what may be referred to as sonic allegory. Of direction, Le Marteau doesn't ‘sound like Brazil’; it is not a literal reconstruction. Boulez neither referred to Aeschylus (like Barrault) nor the story of Orpheus (like Camus); as an alternative, I imply 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 predominant characters in Barrault's account. In his Nouvelles réflexions, Barrault describes entering a huge gymnasium and watching a gaggle of white-clothed initiates stroll collectively in opposition t their pai de santo, the main priest.Footnote sixty five Accompanied by the standard beat of a drum – possibly performed with the aid of the master drummer, or alabé – the practitioners gather before their priest, who is seated subsequent to an altar scattered with Catholic relics and a big statue of Christ. ‘The glance of the priest and his smile’, writes Barrault, ‘the massive Christ's sorrow dominating the table, and the pervasive scent of the incense gave an unusual contact to this small-city cocktail-celebration.’Footnote 66

The liturgy that Barrault describes unfolds with a particular pacing and a gradual raise in intensity – a form of dramatic arc reminiscent of Boulez's ‘Commentaire’. the outlet bars produce a in a similar fashion meditative mood, complete with a subdued processional rhythm (instance 1).

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

Warming up with three leaps of a flute, a xylorimba and pizzicato viola taking part in short percussive attacks, the ‘Commentaire’ is a rhythmically layered textile supported through the irregular accents of a body drum (just like the one which Boulez brought domestic from Brazil). The ranking partakes of the cryptographic elegant: with many altering time signatures, the song looks to conceal an underlying order. Even without cracking the Boulez code, though, we are able to hear that the ‘Commentaire’ shares a fundamental rhythmic feature with the Candomblé: an everyday pulse – notated with vertical traces in the rating – so that you can undergird an extended unfolding development.

In Barrault's account, the commonplace drum rhythms accompany the practitioners as they sing a ‘canticle’, and then, all through an interval of silence, the main priest and practitioners start smoking ‘cigars … that stimulate hallucination’.Footnote 67 This moment of silence is critical to the common narrative arc of the ritual that Barrault describes, simply as the insertion of a fermata one third of how in the course of the ‘Commentaire’ prepares floor for the tumultuous section to observe (instance 2).

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

all over the lull, as Barrault debts, a medium elected by way of the excessive priest – most likely the babakekerê or pai pequeño (‘little priest’) – starts off to walk among the many initiates. The drums birth once more; the practitioners sing; the medium wanders among them; and because the canticle turns into greater severe, ultimately the medium provokes ecstasy: ‘swiftly one of the most choir singers was electrocuted by means of the medium. Like a wounded man he bent ahead and moved inner the circle.’Footnote sixty eight Following the motions of this provoke, Barrault starts off to insert vocal utterances drawn from a tons diverse source. ‘let us observe the “wounded” man. originally the others don't note him … . He appears shocked: “O to to toï”. anything like a burning arrow has stuck in the core of his heart’, and with a grimace of ache, he cries ‘Popoï da!’Footnote sixty nine This ‘wounded man’ begins to writhe, his actions

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 good … his face is absolutely deformed … . He sometimes looks 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, an increase in tempo accompanies an intensification in timbre as the subsequent part of the ‘Commentaire’ commences. The xylorimba player switches to tough mallets and the tambour participant to four bongos. Boulez notates the heart beat with triangles and brackets as opposed to vertical traces – pulse areas as opposed to diverse beats – and he inserts short-term pauses: we will imagine the wounded man bending to the facet for a moment before the spasms continue (example three).

illustration 3 A more excessive area erupts after the fermata. With form permission of normal edition AG, Vienna.

The ‘Commentaire’ ultimately calms, the customary tempo returning as the bongo participant switches lower back to the tambour; then decrescendo; then lull to a quiet conclusion. it's the intensification halfway through this movement, and the next thrashing, jolting rhythms, that betray Boulez's ethnographic supply. ‘The candomblé was … most staggering’, he recounted, presenting ‘a mix of sound: the exhilaration of the percussion, and then … a calm second, … all the time with voice – the contrast between percussion-voice, like psalms.’Footnote seventy one The 4 instrumental voices in the ‘Commentaire’ mirror the four main percussion voices in the xirê: the smallest drum (the lê), the middle-sized rumpi, and the bell (agogô) repeat their own dissimilar patterns, while the biggest drum, the rum, organizes the choreography. The rum player, in keeping with 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 throughout the ‘Commentaire’, a form of virar spurred as the tambour player switches to bongos and because the tempo increases, echoes the kind of rhythmic diminution and timbral intensification during which Candomblé drummers thrust practitioners into bouts of santo bruto – or ‘wild god’, an in particular exuberant kind of spirit possession.

This moment of spirit possession appears to pose definite questions of an anthropological bent about the Candomblé as a carried out experience (what's occurring? how do practitioners consider what's occurring?) and about the Candomblé's authenticity (does a practitioner definitely enter the trance state? does a god truly possess him?). in the state of ‘wild god’, Béhague continues, initiates appear to develop into ‘horses of the deities’ (exin orixá). The ‘notion-photograph’ of a specific deity comes down and ‘mounts’ the devotee who enters santo bruto; through a divination game, the main priest interprets these acts of spirit possession to assess which orixá has mounted the initiate, who henceforth devotes him or (more regularly) herself to this deity.Footnote 73 Boulez's observation that the xirê ‘gave the impression very bad and violent now and then’ however ‘sooner or later changed into now not in any respect’, considering that little ones walk among the many practitioners, had implications that the composer might also now not have intended. Candomblé is itself a kind of reconstruction, a deliberate and consciously practised performance wherein practitioners can enter one more state of awareness, however always with a component of control. Santo bruto allows the phantasm, as David Graeber has written with reference to definite African fetishes, that the apparent magic one witnesses is each a farce and an authentic religious transformation. each positions appear to coexist, although impossibly: that the Candomblé is ‘mere demonstrate’ – a god doesn't ‘actually’ mount its devotee – and that santo bruto is a real manner of becoming. The writhing physique is both an actor and a god ‘within the system of development’.Footnote seventy four

The seeming or precise presence of gods – depending on one's viewpoint – has allowed the Candomblé to develop into an allegory for a variety of kinds of spiritual event. In Barrault's account, it became 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 creation 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, international syllables burst from her lungs as a choir sings, a great deal because the Bahian chorus accompanies the wounded man's spasms. She calls out to Apollo as she prophesies Agamemnon's impending murder, soon to die with him. while sketches of the Compagnie's production, L'Orestie, are scarce, and Boulez's song is incomplete and no longer performed, i'm wondering if Cassandra's ecstasies discovered their way into Le Marteau. in response to his and Barrault's plan for the construction, Cassandra's prophecy become to be accompanied by an extended percussion passage (in place of Aeschylus's choir), and one could imagine that this music would have sounded a great deal just like the ‘Commentaire’.Footnote 75

in any case, Barrault whitewashed the Candomblé as an expression of primordial Greek-ness. His account concludes with a vignette of himself, returned home 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 have been a Bahian native, believing that the anonymous wounded man's cries and spasms revealed a pure and timeless ‘real lifestyles’.Footnote 76 A narcissistic projection indeed, the Bahian ritual reflected for Barrault a deeper Self during the delusion of the different: ‘now not anything erudite, no longer the noted Greek concord of our grammar schools, now not the Greece of bleached statues, but an archaic, juicy, human, anguished Greece in regular contact with the secret of life: a magical Greece’.Footnote 77

Barrault changed into not by myself 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 adventure to the underworld to discover the soul of Eurydice. Set in the mid-twentieth-century slums of Bahia, and featuring Orpheus (performed by using 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 living and the useless. The gold-clothed Orpheus attends a liturgy led by using a cigar-smoking leading 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 in the back of Orpheus: Eurydice's acousmatic voice begs him no longer to show around, and when he inevitably does and sees most effective an elderly lady, the voice bids Orpheus farewell invariably.

Boulez under no circumstances credited the Candomblé as an explicit influence on Le Marteau, and under no circumstances would have stooped to the ‘standard ethnographic reconstructions’ that we will study in Barrault's Réflexions or see in Camus's movie. To take the Boulez of 1954 at his note would mean believing that the Candomblé had hardly ever made an impression on him. The natives exhibited ‘some remarkable hysterical states’, the composer wrote to Pierre Souvtchinsky, ‘but the rites and cults … addressed to God, to the satan, to the phallus or to the virgin, are at all times ineffectual rites and cults for his or her own ends’. it's conspicuous that Boulez, at this stage of his development, distanced himself from Artaud – ‘i'm further and further convinced that Artaud was on fully the incorrect music.’ He brushed aside the rituals for plenty the equal rationale that he dismissed Catholicism (which he have to have seen mirrored within the Candomblé): worshipping God or the satan, the virgin or the phallus is ‘ineffectual’, in his phrases, considering that ‘hysteria [is] probably the most passive states’.Footnote seventy eight To ‘reconstruct’ hysteria within the method of Artaud's Pour en finir, from this perspective, would be to aspire to a ‘passive state’, whereas Boulez sought whatever thing more active and additionally greater abstract, musically removed from Bahia. To ‘prepare delirium’ skill to consciously create it, to write presence.

The accents of Boulez's frame drum, in contrast to a Candomblé bell sample, are somewhat irregular, hardly ever an ostinato; the voice of Boulez's flute is neither repetitive nor diatonic within the manner of a Candomblé vocal melody. Yet here is Boulez's composerly conjuring trick. The rhythmic character of the ‘Commentaire’ mirrors that of the xirê: starting 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 extra state of being. He wrote this being into music. Barrault's all-too-obvious allegorization of Candomblé as ‘a magical Greece’ is, I imply, an apt analogy for Boulez's personal (extra covert) appropriation: sound itself grew to become a sort of redemptive western allegory through which Boulez affirmed the mysterious power, the fundamental force, of sound.Footnote 79 Even in Béhague's ethnographic account, the vigor that track can appear to wield over Candomblé practitioners turns into an oblique allegory for musical autonomy. ‘The instant name to possession’, he cited, ‘comes from the song itself’.Footnote eighty music wields its own mysterious powers: the outcomes of the Candomblé drums turn into an allegory for the immediate spiritual vigour of the track itself, a tacit acknowledgement of the autonomy of musical aesthetics. And ‘the track itself’ turned into the web site of Boulez's own allegorizing.

Musicology has encountered this condition before. Boulez appropriated an firstly religious kind devoid of its fashioned spirituality, a bid for musical purity along the traces of Igor Stravinsky's disavowal of his own ethnographic sources. The mythic power of a springtime rite turns into relocated, via a composer's disavowal of ‘further-musical’ influences, into the independent house of tune. Debunking this modernist delusion of ‘the track itself’, Richard Taruskin referred to the various folk songs that Stravinsky wrote into Le Sacre du printemps, and demonstrated that Stravinsky invoked the poetics of the rite – whether a virgin sacrifice or the marriage depicted in Les Noces – to convey a primitive immediacy of awareness. For Taruskin, Stravinsky's self sufficient tune changed into an endeavour to embody in musical kind a Eurasianist dream of a united Russian spirit and Russian land between Asia and Europe. It changed into a land floating someplace in the music itself.Footnote eighty one

For Boulez, too, the primitive state evoked by using a rite beckoned against a sonic utopia, but this utopia changed into even much less worldly. He did not call for a brand new national consciousness, nor did he think about that the sounds of the ethnographic other could find a greater original or more foremost political fact. in its place, his effort to forge the essence of the other's hysteria with out representing a particular ‘other’ mirrored possibly the oldest, purest, and quintessentially western philosophical dream: ontology.

Conclusion: To have performed with the judgement of Ontology

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

– DerridaFootnote eighty two

there's possibly no superior term for Greek essence than ontology. ‘A Greek invention first of all’, to cite Derrida, the time period refers to a discourse (logos) about being (on), premised on an ontological change between particular things of the realm and their metaphysical floor.Footnote eighty three Drawing from Heidegger, Derrida held that ontology presupposes a change between ‘Seiend (being in English, étant in French, ens in Latin)’, and ‘Sein which capacity in French Être, in Latin Esse. In English, there isn't any way to translate the change between Seiend and Sein’, which is why translators sometimes render ‘Seiend as “being” with a lowercase “b” and Sein as “Being” with a capital “B” which is rather tricky’.Footnote eighty four Lowercase ‘being’ refers to an entity present in its temporal and spatial specificity – we are able to consider of the certain sounds of Boulez's ‘Commentaire’, or the writhing physique of Barrault's imagined ‘wounded man’, as ‘beings’ in this feel – whereas Sein (or Being) refers to a greater abstract experience of presence it's presupposed each time one writes. although, as Derrida contended, ‘Être/Sein is nothing’: there isn't any single ‘essence’ by which to unite different beings, seeing that ‘which you could in no way locate the rest any place that we can call Sein, and yet Sein is presupposed every time we are saying “here's a being”’.Footnote eighty five This linguistic change between Seiend and Sein became, in Derrida's philosophy, an ontological différance between the signifier – the specific material notice – and the signified, which is superior and immaterial. by using looking at that the signifier and signified, like ‘being’ and ‘Being’, suggest distinct and incommensurate temporal orders, Derrida argued that the complete of western metaphysics, which ‘has been constituted in a gadget (of concept or language) decided on the groundwork of and in view of presence’, had been operating beneath the spell of a fiction.Footnote 86 Presence, or Being, does not ‘exist’ in the strict feel.

Ontology, the bedrock of European philosophy, appears commonly in Derrida to be little more than a video game of writing – notwithstanding far from inane. it's a discourse that grapples with the nature of being during the emblems; that's, via ‘motive, discourse, calculation, speech – logos capability all that – and additionally “gathering”: legein, that which gathers’.Footnote 87 If a trademarks is a ‘gathering’, ontology gathers many disparate beings below the regularly occurring feel of Being. here is why, for Levinas, ‘ontology as first philosophy is a philosophy of vigour’.Footnote 88 Philosophical discourses about Being had all the time been constituted via a method of appropriation-via-assimilation, for the reason that an ontology takes kind because the different – some thing is backyard of Being – turns into ‘gathered’ inside a western logos. notwithstanding Levinas articulated this ‘ontological imperialism’ in the summary, his political implications have been clear adequate. As Europe asserted its ‘being’ through economic exploitation and military 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 comprehend the realm, due to the fact that ‘Being, with out the density of beings, is the easy in which beings become intelligible’.Footnote 89 ‘The West’ gathers itself via subordinating and subsuming some thing doesn't enter this light.

Artaud and Barrault had been after a form 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 become (occasionally) Greek: a Tarahumara rite that he witnessed in 1936 became, in his writings, ‘the rite of the kings of Atlantis as Plato describes it in the pages of Critias’. He continued:

Plato talks about an odd rite which, on account of circumstances that threatened the way forward for their race, became performed by way of the kings of Atlantis.

despite the fact legendary the existence of Atlantis, Plato describes the Atlanteans as a race of magical origin. The Tarahumara, who are, for me, the direct descendants of the Atlanteans, continue to commit themselves to the observance of the magical ceremony.Footnote 90

All this allegorizing amounted to a navel-gazing fantasy that a deeper Self could emerge from the other, a bit like a Catholic move rising from the Mexican soil. ‘Philosophy is an egology’, Levinas declared, because ontology assumes that change is however a mirage concealing sameness.Footnote ninety one

through disavowing the ‘simple ethnographic reconstructions’ that we will hear in Artaud or examine in Barrault, Boulez displaced these express western allegories onto sound. Sound grew to be ‘radically other’, and écriture grew to be Boulez's ‘impartial medium’. this is ontological appropriation: musical writing turns into the pure light through which a composer writes the different into the choicest house of western track. ‘real’ sounds, what Boulez called pure or impartial sounds, emerged for the composer best when the selected sonic world that he heard in South america, or that he encountered through recordings of Laotian or Cambodian track, had been effaced, neutralized, and made part of his abstract musical imaginings.

is that this no longer how an ontology – any ontology – is made? A system of extraction and inscription makes truth thinkable beyond misguided appearances, a manner of writing that makes the very distinction of truth from appearance feasible. although, gaining knowledge of Boulez might remind us, to play a little bit with his own ideas, that sound does not ‘become ontological’ except it passes through écriture. Ontology is neither a given nor is it a neutral medium – it simplest looks so, as if to identify an ontology is to identify what truly is, which is a part of the trick of the term. Ontology also cloaks the real with a shroud of secret: a veil conceals many genuine voices, ‘individualized’ sounds that fall mute every time an ontology comes into being. And this equal veil often functions as a bolster for scholarly authority. Ontology is a writerly conjuring trick, though a unusual one because it appears so innocuous, connoting the ‘in itself’ of things – a true sound beyond language; a presence beyond what we are able to re-current.

In recent decades, youngsters, many have sought to rescue ontology from its old baggage as a philosophy of vigor. For proponents of the ‘ontological turn’ in anthropology, there are lots of viable ontologies. The anthropologist's job, based on Eduardo Viveiros de Castro, isn't to ‘[explain] the area of the other’, however as an alternative to ‘[multiply] our world’ – it really is, to extend the discursive ‘worlds’ of anthropology by letting the other remain other. ‘The different [is] the expression of a possible world’.Footnote ninety two From this standpoint, ontology is not any longer ‘a discourse (logos) about the nature of being’, however, as David Graeber writes, has develop into ‘a word for “being”, “manner of being”, or “mode of existence”’.Footnote 93 The state of santo bruto can not be judged as precise or phony if the practitioner belongs to a totally distinct order of being. Yet, whether it is an ‘illegal circulation’, as Viveiros de Castro claims, for the anthropologist to call what appear to be magical moments reminiscent of santo bruto either proper or false, conserving in its place we are witnessing a radically other ontology, then the ethical box becomes flattened.Footnote ninety four The concept that many other worlds exist, protected from the anthropologist's Eurocentric gaze through a take care of known as ‘ontology’, looks to fall into an ethical quandary universal from the days of Franz Boas and his college students. If we place the other in an extra ‘feasible world’ – which is, after all, of our making – then there is no foundation for truth, and no motive to take the other critically. hence no rely how ‘radical’ or innovative, to cite Paul Rabinow, attempts to construct relativistic theories of cultural change risk ‘[leading] – regardless of their intent – to a sort of nihilism, a reduction of the other to the same’.Footnote ninety five ironically, in this flattened container in which many ontologies become equally possible, ‘ontology’ regains its original which means. If any entity may have or belong to an ontology, then each person and every thing is equally ‘ontological’ (and, then, why no longer have ontology on the seashore? or ontology in mattress?).Footnote ninety six notwithstanding it might seem to be radical to think of many possible ontologies, as soon as the time period is in play, there is only ever one ontology. It is still a discourse, a lightweight during which to light up ‘beings’, making different worlds part of our personal.

Ontology has now not modified a lot on account that Derrida or Levinas wrote about ‘the West’. It has most effective become a sort of trump card for scholarly authority, seeing that, as Graeber suggests, ‘the issue with cultural relativism is that it locations americans in containers now not of their personal devising’: ontology ‘just substitutes a deeper field’.Footnote ninety seven in the musicological ‘container’, in the meantime, ontology looks to have ‘imperialized’ how some scholars consider about sound. making use of Eduardo Kohn's rather fundamental definition of ontology – ‘the examine of “reality”’ – to the analyze of sound, we are able to see that sound regularly stands for just that: fact.Footnote 98 ‘Noise [is] the ground’, as Christoph Cox writes, ‘that offers the situation of chance for every articulate sound, as that from which all speech, track, and signal emerge, and to which they return’. Conceiving of the ‘sonic flux’ as an ‘immemorial fabric stream’ that people can actualize through making track, however which all the time goes beyond the human, Cox positions noise as Being itself: the kind of presence in which any certain sound or piece of music may also be understood.Footnote ninety nine United in a undertaking that Brian Kane termed ‘onto-aesthetics’, Cox holds that sound artwork discloses its personal ontological situation simply as Nina Eidsheim holds that certain forms of avant-garde apply – comparable to underwater singing – reveal the vibrational be counted at the coronary heart of sound.Footnote a hundred while sonic flux resounds beyond human perception, vibration – which is Eidsheim's update to ‘noise’ – becomes the elusive pure presence underlying what we will characterize. Ontology, in this experience, is a means to reconfigure subjectivity – ‘if we cut back and restrict the realm we inhabit’ with the aid of maintaining 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-reality, and ‘sensing sound’ allows for one to break away of Self-versus-different binaries that perpetually ‘reduce and restrict’ our self.

despite these endeavours to ethically remediate the conception of ontology, the resonances between our existing-day sonic ontologies and the sonic allegories of Boulez and Artaud's day should still make us cautious about the usage of ‘ontology’ as a stand-in for fact. Of route, there is a very good distance between Artaud's pure theatre and Mexico, as between Bahia and Barrault's magical Greece. readily describing Artaud and Barrault's writings is adequate to find the ethnocentric approach that we be aware of (by way of now) to were a part of artistic modernism. but come what may when the ontology of sound is in question it turns into tougher to answer: the place is fact and the place is appearance? For Clifford, all ethnography is (in some sense) surrealist as a result of ethnography at all times involves aestheticizing its findings.Footnote 102 The different seems to me during the writing that i do know, becoming comprehensible as my illustration; the paintings forms and expressions of the different resonate with my perception of my own way of life, and therefore the other's way of life, considered against mine, becomes a type of artwork. In sum, all lifestyle may also be anything of an ethnographic artefact and a work of artwork, true as a result of farce.

If all ethnography employs surrealist processes, at least tacitly, i might assignment that sonic ontology-making is surrealistic too. Which amounts to a quite primary conclusion: ontology-making is, after all, just that. A making. nonetheless it is a odd variety of poiesis, on account that ontology claims to latest issues as they definitely are. considering through Derrida's conclusions about Artaud, however, i wonder if ontology ‘truly’ receives us closer to the real. ‘In its closure, it's fatal that representation continues.’ exactly as he sought to disavow an older metaphysical regime – in Derrida's phrases, to ‘kill the father’, each the religious Father who judges the realm from afar and the author-God who makes theatre into a mere ‘double’ of a metaphysical script – Artaud stayed within metaphysics. As quickly as one acknowledges presence, it is already a representation. Presence is a mirage of the actual, an illusory sur-fact vanishing like sound. we can see the limits of illustration, its closure, however we can not movement beyond it. as a substitute, sound reviews often ‘reconstructs’ an historic modernist conjuring trick. Ontology-making conceals the maker, fitting an extra discursive guise for western Writerly Authority. most likely it's time to discover a new device. Or somewhat, perhaps it is time to have completed with the vanity that sends us on limitless discursive quests for sound beyond the human, or sound ‘publish’-human. let us dispense with reality as soon as and for all.

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