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Ontological Appropriation: Boulez and Artaud | MSPF Question Bank and Study Guide

In his 1963 article ‘Dire, jouer, chanter’, Pierre Boulez (1925–2016) explained his use of certain exotic sounds in Le Marteau sans maître. ‘I chose this “body” of contraptions with the influence of extra-European civilizations’, he wrote: ‘the xylophone transposes the African balafon, the vibraphone refers back to the Balinese gender, and the guitar recalls the jap koto’.Footnote 1 The composer insisted, although, that ‘neither the vogue nor the very use of these devices is linked in any strategy to the traditions of those different musical civilizations’.Footnote 2 Boulez didn't want to represent the song of peoples outside Europe as an ethnologist may when organizing artefacts into a colonial exhibition. rather, once purified of context, these sounds would ‘enrich the eu sonic vocabulary through further-European listening’, and, Boulez hoped, have a refreshing and estranging impact on the listener accustomed to common western timbres. With this stream, Boulez also hoped to sever his chosen sounds and harmonies from the historical baggage of the classical lifestyle, and for this reason to expand the presence of song in its second. during this endeavour he took a cue from the creator of the Theatre of Cruelty. ‘song may still be collective hysteria and enchantment’, wrote Boulez in 1947, ‘violently contemporary – following the route of Antonin Artaud, and not a simple ethnographic reconstruction within the image of civilizations extra or less far flung from us’.Footnote 3

What does it mean for a composer to take sounds from the ethnographic other without ‘reconstructing’ the other? this article will argue that Boulez's endeavour to aestheticize the ‘hysteria’ he perceived in the lifestyle of the different changed into a moment of ontological appropriation, turning the other into sound. Composers of paintings track had lengthy sought sparkling patterns and new sounds by reconstructing a non-European different, no matter if through Mozart's imitations of Turkish track, the exoticized characters of Bizet's Carmen, or the rhythmic counterpoint that drew Debussy to Javanese Gamelan. I imply that these endeavours to imagine and to applicable ‘extra-European’ sounds became specifically ‘ontological’ by way of the mid-twentieth century. Boulez's aim changed into not to reconstruct a selected other. fairly, sound turned into the different: it emanated from someplace peculiar and primitive, carrying a visceral immediacy that may be leveraged to puncture the façade of western musical that means. Boulez sought a compositional formulation that would, to use his own term, render sound neutral: a sonic color rather than a musical sign; a ‘pure’ first-class instead of a representation.Footnote four i'll argue that Boulez's compositional approach prefigured exact claims on behalf of the ontology of sound: that sound can put us in touch with a global more precise, or possibly that sound with no trouble is the actual. This search for pure sound, a ordinary refrain of twentieth-century musical modernism, is, and at all times has been, inherently ethnocentric. it's a process of making sound ontological.

while the question of otherness is seldom addressed in scholarship on Boulez, it is obvious that his feel of sound developed as he reconstructed ‘extra-European’ expressions in sonic form.Footnote 5 in the first component to this text, i use Artaud as a foil to explore how Boulez's thought of musical writing – or écriture, his medium to jot down sonic ‘hysteria’ – took form as he distilled and sublimated otherness. while Boulez credited Artaud with forging a style of expression that might re-create ‘collective hysteria and enchantment’ devoid of aspiring to realist ethnographic representation, the composer endeavoured to push Artaud's expressive fashion beyond what even the theatre guru had carried out. 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 method of vocal performance that well captured, as Boulez put it, ‘the fundamental preoccupations of tune today’.Footnote 6 Boulez's exoticism, against this, turned into extra veiled: instead of comply with Artaud to intensify the alterity of the different, Boulez sought as a substitute to purify or occlude otherness, a stance that may also be seen as continual with surrealism.

The method Boulez took to sound may well be known as ‘ontological’ as a result of he handled sound as some thing extra ‘real’ – more evocative and powerful – than the rest that had been, or could be, expressed through the normative musical languages of the western way of life. In what follows, i will first imply that Boulez's philosophy of writing hinged on an ideological distinction between ‘the West’ and the leisure, and then will observe the composer to South the us with the Compagnie Renaud-Barrault to hear how he filtered sounds from an ‘additional-European’ supply that he by no means stated outright: Afro-Bahian Candomblé. i will suggest that Boulez modelled the poetics of one circulation of Le Marteau sans maître, the ‘Commentaire I de “Bourreaux de solitude”’, on the ritual of spirit possession he witnessed in Bahia in the business of actor and director Jean-Louis Barrault (1910–ninety four). unlike Barrault, who claimed that the Candomblé embodied the essence of Greek tragedy, Boulez neither wanted nor cared to turn the Candomblé into an allegory for an fashioned western essence. The ‘delirium’ of Candomblé practitioners in the throes of actual spasms and amid abrupt vocal utterances – the styles 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 imply, sound grew to become an allegory, a figure for an original essence and a kind of elemental drive.

Boulez's sounds are nonetheless with us nowadays. Following Christoph Cox or Nina solar Eidsheim, one may argue that a supra-audible ‘sonic flux’ or reality of vibrating matter exists past human belief, a digital ground for the sounds that we actualize after we make tune.Footnote 7 The concluding component to this article means that every scholar who holds that sound is a hyperlink to the precise, to a reality beyond or at the back of what we can understand and characterize, implicitly depends on a proposal of sound as allegory – a suggestion that links sound studies to Boulez and a group of his contemporaries in France. This attitude towards sound, regularly touted as a way to believe past entrenched West-versus-East and Self-versus-different dualisms, risks re-inscribing these dualisms on an ever-deeper level. The issue is not with pondering imaginatively about sound, however with the philosophical concept that courses students to take sound as an allegory for certainty and truth: ontology.Footnote eight

The term ‘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 stories. despite the fact, i'm not convinced that the theory of ontology may also be purged of its historical past as a ‘philosophy of energy’, to cite a phrase from Emmanuel Levinas.Footnote 9 The very idea of ontology presupposes a relation between the knower and the standard such that the wide-spread entity, through becoming an object of potential and a determine of western writing, loses its alterity.Footnote 10 Levinas coined the time period ‘ontological imperialism’ to describe the grasping egotism in which ‘the West’ constitutes itself by first imagining and then incorporating the other.Footnote 11 To the extent that Boulez attempted to transmute ‘additional-European’ sounds into the realm of musical writing, he changed into an ‘ontological imperialist’. He constituted an idea of sound, no longer with the aid of representing the different as different, but by using subsuming the different into the same. exact scholarship, too, treats sound as a figure of radical alterity, yet sonic allegory turns into a means to bolster scholarly authority. the hunt for ‘pure’ sound has an unacknowledged modernist historical past.

Boulez, Artaud, and the ethnographic other

‘by the time he become eighteen’, biographer Joan Peyser writes, ‘Boulez had turned against his father, his country, and every little thing else that had been held up to him as sacred … . He repudiated Catholicism, spouting Latin obscenities when he become under the influence of alcohol … he certainly not studied under any one man for any length of time, “detesting the daddy-son relationship”.’Footnote 12 whereas this part of Boulez's formative years naturally had a robust Oedipal dimension, it became Boulez's defiance of the function 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 noticed Artaud study his own texts at Paris's Galerie Loeb in the summer of 1947, witnessing the dramatist performing the sorts of vocal expressions that might be recorded via the Radiodiffusion Française later that year.Footnote 13 the published Pour en finir avec le jugement de Dieu (recorded in November 1947) files Artaud throughout a duration of rapid actual decay following a collection of electroshock treatments administered against his will on the Rodez asylum (1943–46).Footnote 14 The forty-minute broadcast carries readings of Artaud's texts by using the writer himself, his chum (and later literary executrix) Paule Thévenin, and the actors Maria Casarès and Roger Blin. Censored by Radiodiffusion Française (RDF) simply before its gold standard in 1948 (due in large part to Artaud's inclusion of anti-American rhetoric, sick-timed in the wake of the conflict), Pour en finir enables us to listen to the voice that Boulez experienced are living that summer time.Footnote 15 In his opening unaccompanied monologue, Artaud shouts in his excessive register: ‘I realized the day past’, and then pauses. His pacing deliberate, his rasping voice swooping low, he describes ‘probably the most sensational legitimate practices of public American schools’: a ‘sperm examine’ through which all younger boys are required to deliver sperm for the government to build an artificial military. the united states now not handiest manufactured people, however additionally warships and plastic customer items, inaugurating ‘le règne … de tous les faux produits fabriques’ (‘the reign of false fabricated items’) and replacing every little thing herbal with ‘les ignobles ersatz synthétiques’ (‘lousy ersatz synthetics’). These phrases come on the conclusion of a series of brief phrases during which Artaud crescendos, charging the text with belligerent vocal expressions. On fabriques, his voice quivers as if a mocking snigger; on les ignobles ersatz, he tightens his throat, pushing air with giant power to provide a guttural growling; and before the final syllable of synthétiques, he pauses as if out of breath, separating the final ‘-que’, a percussive click, from the relaxation of the phrase. Artaud believed within the tune of spoken utterance, in the voice's capacity to create that means via its own contours, sometimes bolstering the literal that means of a text or – in this case – working in opposition t the that means of the words (‘fabriques’, ‘synthétiques’).Footnote sixteen He rails towards an ersatz, synthetic American struggle computer and then introduces a contrasting determine: ‘i love most the people who consume off the very earth the delirium from which they are born.’ His voice shivers; he blurs ‘la terre’ (earth) to sound like ‘le délire’ (delirium); he whispers: ‘I speak of the Tarahumaras … . as a result you are going to hearken to the dance of the Tutuguri.’Footnote 17

The collective enchantment that enthralled Boulez became thus finished in the course of the rites of the Rarámuri of the Sierra Tarahumara, whose peyote rituals, Artaud claimed, revealed a primordial state of being. After a silence, the next portion of Pour en finir starts off as Artaud screams, a pair of drums and a gong accompanying his ululations as he soars into his severe upper register. This crude ‘ethnographic reconstruction’ of a primitive ritual looks 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’ textual content, her enraptured voice vibrating as Artaud's shouts continue. This textual content describes a ritual wherein six Rarámuri men, each 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 phrases with ‘shouts, noises, or rhythmic consequences’, and his effort to push vocal utterance past what any written text can bring, felt like an affirmation of the emerging musical language that the composer changed into in the process of conceptualizing and inserting into practice. ‘i'm not certified to talk about Antonin Artaud's use of language’, he wrote,

but i can examine in his writings the fundamental preoccupations of music nowadays; listening to him examine his own texts, accompanying them with shouts, noises, or rhythmic outcomes, has proven us a way to have an effect on a fusion of sound and observe, a way to make the phoneme burst forth when the note can no longer achieve this, briefly a way to arrange delirium.Footnote 18

Boulez's efforts to ‘take delirium and, yes, organize it’, despite the fact, masked Artaud's express exoticism. possibly we are able to hear something of Artaud's ‘shouts, noises, and rhythmic results’ in 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 through the climax of the fourth and remaining circulate, 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 intense high and low registers of the piano – rhythmic effects. This harried back-and-forth movement culminates with all of sudden attacked chordal clusters – shouts – earlier than a sequence of related pitches in the left hand (marked ‘Élargir rapidement’: expanding rapidly) winds upwards towards a bunch of descending dyads in the intense high latitude – noises. Boulez commands the pianist to play ‘in a extremely robust color’, to sound ‘exasperated’, starting off a different 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 narrative mode. however however he downplayed the representational function of music – simply as he disdained ‘essential ethnographic reconstruction’ – Boulez's musical gestures have been regularly visceral, traumatic an identification between his listeners and performers on a corporeal stage. His early pianistic language may not ‘symbolize’, however actually items quick leaps, sweeps, and chordal clusters, modes of attack that had been a part of the composer's endeavour to forge a brand new kind of musical journey – a pianism in any other case.

Boulez's thought of écriture, the French time period that connotes not most effective literal inscription however additionally the symbolic reasoning at the back of it,Footnote 20 took form via a compositional observe that consisted of developing contrasts comparable to that between the leaping attacks of the Piano Sonata no. 2 – during which pitches appear to be either remoted or slammed collectively – and moments through which successive notes are smoothly connected into lyrical fragments. Boulez's musical language consisted of opposing aspects like this, a dialectical strategy to timbre and phrasing that Jonathan Goldman describes via a variety of binaries: figure versus constitution (i.e., part versus total), chord-figure versus interval-scale (i.e., ‘chord’ versus ‘scale’, or vertical versus horizontal building), and clean versus striated time – the record goes on.Footnote 21 Boulez owed this method partly to the voice that we will hear in Pour en finir. Rasping and low in one second, then quietly drawing breath; suddenly shouting and leaping into the falsetto; finally 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 and every move structured around a contrast between longer resonant tones and brief percussive attacks, the violent oppositions of vocal sounds echo in ever extra abstract kind.Footnote 23 the primary 4 bars of move 1b of the Livre, as an example, function a collection of intervallic leaps, beginning within the viola and echoed by means of the violin, which preserve lengthy tones within the upper register against a quiet cello attack below, pizzicato. After a fermata, the second 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 query of otherness, is often caught in a hermeneutic ‘double bind’. by drawing near the music as an object that requires laborious decoding (searching for the tone rows and tracing their genealogies, for example), we possibly omit a few of its most spectacular qualities.Footnote 24 One does not should hear ‘hermeneutically’ to listen to that the ethnographic other is with ease there within the tune; yet when we delve below the floor for compositional strategies and deep constructions, the different vanishes. here is a problem that looks to hang-out stories of Boulez (and, greater generally, of serialism): the rigorous methods employed in developing this song appear to demand decoding, as if there's all the time a hidden order at the back of each musical utterance. however exactly when we interact in decoding, the track's ‘otherness’ is hid.

This double place, i would like to indicate, become a part of Boulez's varied mode of appropriation. In contrast with Artaud, who sought to latest the ‘added-European’ as radically different, Boulez sought to occlude difference, and musical writing was his medium to accomplish that. This mode of appropriation worried a particular perspective towards sound and writing that Boulez acquired partly through Artaud, but additionally through a larger stream of which Artaud was – as a minimum at the start – an element. although he broke from the professional surrealist community led by means of André Breton (1896–1966) in or about 1926, Artaud retained something of the surrealist angle in opposition t cultural order and that means. This perspective had to do with re-assessing ‘the West’ when it comes to its newly exhibited others: as James Clifford has advised, the artefacts imported from France's colonial possessions indicated – to Breton and to different surrealists – that ‘subculture and its norms – attractiveness, truth, reality’ had been simply ‘synthetic preparations, vulnerable to detached analysis and evaluation with different feasible tendencies’.Footnote 25 indifferent evaluation and evaluation had been vital in the emerging ‘ethnographic surrealist’ view of cultural order – a view in line with which western lifestyle is in basic terms an arbitrary assortment of indications able to be reconfigured and jumbled like objects on screen in an ethnographic museum. We might name the surrealist mode of appropriation, then, a symbolic mode, due to the fact the poet changed into to interact with society's signals on a 2nd-order degree of statement: fragmenting and juxtaposing verbal signifiers in order, as Breton as soon as quipped, to widen the gaps ‘between the words’. throughout the hodgepodge logic of the dream, Breton's surrealism aimed to re-appropriate society's signs to new expressive ends.Footnote 26

while second-order reflection on way of life and its signals was a necessary point of the ethnographic surrealist outlook, Artaud took a different tact: the ‘added-European’ seems to have impelled him to accentuate the first-order gut reactions you will have in the presence of efficiency. Artaud's mode of appropriation may most reliable be termed an affective mode as a result of the emphasis he positioned on bodily immediacy: he sought to plunge headlong into the unconscious abyss that Breton's surrealism unfolded ‘between the words’. ‘it is standard to put an conclusion to the subjugation of the theater to the textual content’, Artaud declared in his 1932 Manifesto of the Theater of Cruelty, ‘and to Excellerate the concept of a sort 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 way of how this language became to work. words become gesture during the act of enunciating them with unexpected shouts, leaps, and screams – it's, by filling the gaps ‘between the words’ with sound. The normative written methods of western theatre had been hence inadequate to find the money for the sort of expression that Artaud sought to make attainable. The actions and utterances of Artaud's premier theatre would are living only for a second, beyond what could be written and repeated from memorizing a script; hence, ‘allow us to go away textual criticism to graduate students, formal criticism to esthetes’, he exhorted, ‘and recognize that what has been said isn't nevertheless to be noted … that all phrases, once spoken, are useless and function simplest for the time being when they're uttered’. here's why ‘the theater is the only place on earth where a gesture, once made, can in no way be made the equal manner twice’.Footnote 28 At stake for Artaud turned into the competition that the culture of the West had been dominated through a theological metaphysics according to which lifestyles on earth – just like the moves on a stage – are subordinate to an common presence, the Divine observe contained within the texts of the Bible, or the theatrical observe written in a phonetic script. ‘Cruelty’ now not simplest intended engulfing viewers in a sensory barrage – producing the kinds of visceral gestures that we are able to hear, as an instance, when Boulez's pianist ‘pulverizes the sound’ – however additionally demanded a commitment to staying as shut as possible to the restrict of representability.Footnote 29 rather than confront society on the degree of its representations, Artaud dreamed of a pure presence, an ideal of immediacy and un-representability. hence the Theatre of Cruelty, in Jacques Derrida's phrases, often is the art of ‘pure presence as pure difference’: it would movement like a language, carrying a signifying force, yet devoid of forming iterable signals.Footnote 30 Producing an always-renewed impact of presence, a merciless theatre would are seeking to elide the stream and mechanisms of re-presentation.

however, like Boulez, Artaud vital writing. As we've already considered, ethnographic reconstruction turned into a part of how the dramatist enacted his ‘pure presence’, and he anticipated Boulez's own look for a new form of writing that would prepare the delirium that Artaud purported to emanate from Mexico or in other places. Artaud saw a vision of this new writing when he witnessed Balinese theatre on the 1931 Exposition coloniale held within the woodland of Vincennes backyard Paris. There, the French government hosted agencies of americans from Africa, Oceania, West India, and other colonies to demonstrate arts, to make food and crafts – together with the Oceanic artefacts that involved Breton – and to perform track and dance like the Balinese spectacles that Artaud witnessed, claiming that the Balinese embodied ‘the conception of pure theater’.Footnote 31 it's doubtful (to us) what Artaud really saw at the Exposition, although he wrote of Balinese theatre as if it changed into a collage of ritualistic actions, track and poetry, costume and different visual aspects – all appearing before his eyes as a kind of hieroglyphic writing. These ‘spiritual signs’, he declared, ‘[strike] us only intuitively but with enough violence to make useless any translation into logical discursive language’.Footnote 32 The non-phonetic writing of Artaud's ultimate theatre would organize configurations of our bodies and objects, mapping out pursuits; for that reason it would silence the voice of the absent creator-creator, all in an endeavour to approximate the immediacy of ‘chinese ideograms or Egyptian hieroglyphs’. rather than inscribe communicate, staging instructions, and so forth, this writing would without delay deal ‘with objects … like photographs, like phrases, bringing them collectively and making them respond to every different’.Footnote 33 although, whereas this new non-phonetic writing would pass the written voice of the writer, it would now not silence the voice of the actor. removed from it: Artaud insisted that the hieroglyph would deliver a new vicinity to voice, to the true embodied voice onstage, seeing that vocal sounds would no longer 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 characterised Breton's surrealism and Artaudian cruelty, however, as I have recommended, Artaud's vocal sounds continued to echo under Boulez's pen. we will hear how Boulez entextualized the ‘delirium’ that he heard in Artaud into an abstract musical language.Footnote 34 however whereas the composer aimed to produce sudden first-order intestine reactions via musical violence, he also mirrored – in published essays and later lectures – on the techniques wherein this violence could be produced. He sought a strategy during which to construct upon the ‘pure presence’ of Artaudian expression, taking up Artaud's aesthetic ultimate into an incredible musical writing. With the emphasis he placed on writing and structure, therefore, Boulez located himself as 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, during which significant theoretical weight grew to be connected to the proposal that subculture is written. The surrealist conviction that attractiveness, truth, and fact are mere products of symbolic arrangements laid the groundwork, as Clifford advised, for the ‘semiotic’ view of cultural order that one can examine, for example, in Roland Barthes's famous claim that ‘every thing will also be a fantasy, offered it's conveyed with the aid of a discourse’. If tradition is a group of signs, then kinds of discourse – ‘modes of writing or of representations; no longer handiest written discourse however also images, cinema, reporting, game, shows, publicity’ – inevitably entwine themselves with vigour.Footnote 35 Artaud, in seeking a sort of vocal utterance beyond the ‘legendary speech’ that had upheld bourgeois normativity, gave a particular privilege to sound as a car of transgression – here is the form of sound we are able to hear in Boulez.

Boulez's stance towards sound became imminently surrealist in view that it changed into a musical response – albeit a really summary response – to the transgressive aesthetic put forward all through the surrealist years. As Clifford wrote, ‘the exotic [was] a primary court of enchantment against the rational, the pleasing, the regular of the West’, allowing thinkers within the surrealist camp reminiscent of Georges Bataille – inheritor of a transgressive avant-garde spirit that dates again as a minimum to Baudelaire – to deconstruct the hallowed beliefs of western lifestyle by using claiming that every cultural norm contains and conceals its obverse. Tonal concord, on this view, is one European social delusion among others, drained and two-confronted: confront tonal harmony with its different – dissonance – or confront respectable with evil, piety with perversion, and you could see that each norm includes 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 latest article is meant as an entryway to determine the function that track and sound performed in organising this transgressive aesthetic – a classy that hyperlinks ‘the twenties context of surrealism proper to a later generation of radical critics’.Footnote 36 The jumble of non-European signals presented at colonial exhibitions (and later housed in the Musée de l'Homme) now not handiest prefigured the semiotic view of cultural order in vogue by way of Derrida's day, but additionally advised that new and violent sounds – ‘shouts, noises, and rhythmic consequences’ – could echo from between the cracks in western cultural meaning. by means of releasing a flow of speech through surrealist automated writing, or via shouting, stuttering, and speaking in tongues, sound became ‘different’: that which resounds beyond the norms of pictorial and linguistic illustration, ‘between the words’. therefore the free play of indications become now not best Oriental, but changed into above all sonic. here's the Artaud that Boulez discovered so attractive:

[B]y an altogether Oriental capacity of expression, this purpose and concrete language of the theater can facilitate and ensnare the organs. It flows into the sensibility. forsaking Occidental usages of speech, it turns words 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, by way of conveying the feel of a brand new and deeper intellectuality which hides itself underneath the gestures and signals, raised to the consideration of particular exorcisms.Footnote 37

Ontological appropriation

In his disavowal of ‘ethnographic reconstruction’, we are able to experience that Boulez distanced himself from Artaud even as he drew proposal from the theatre theorist. The ethnographic different became no longer a beneficial option to ‘the West’ for Boulez. besides the fact that children, as i hope to demonstrate, Artaud and Boulez every participated in the mutual building of ‘the West’ as adverse to ‘the relaxation’, an opposition that undergirded every artist's standard views about their respective media – theatre and track. Boulez's mode of appropriation turned into ontological because he aimed to reconstruct the ‘hysteria’ of the other at an ontological eradicate from any selected individuals or location. He whitewashed ‘added-European’ sounds in an endeavour to create what he known as ‘pure sounds – fundamentals and natural harmonics’ that may well be subsumed within a musical cloth.Footnote 38 This process of purification become always a part of Boulez's stance against sound, a part of his personal transgressive modernist aesthetic. Yet, as this part will demonstrate, the look for a new sort of écriture tied Boulez and Artaud to a a good deal older, and explicitly ethnocentric, philosophy of writing.

In observe, Boulez's écriture become a medium to arrange delirium, and in conception, too, écriture hinged on a distinction between individualized sound and neutral sound, itself a species of a extra conventional dichotomy between a western self and the ethnographic different. ‘The extra a sound has staggering individual characteristics, the much less conformable it can be to other sounding phenomena’, as a substitute ‘[preserving] its personal individual profile’, cited Boulez in a 1994 lecture on the Collège de France.Footnote 39 during this he echoed a trope that he had voiced plenty prior 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 (reasonably subtly at the time) that his American correspondent became barking up the incorrect tree.Footnote 40 Cage didn't produce pure sound, relying in its place on the individualized traits of sounds made from inserting bits of metal, screws, and paper clips amid the piano strings. This endeavour, inspiring and sparkling although it changed into for the younger Boulez, subsequently constituted a regression in musical pondering. In a 1972 dialog with Célestin Deliège well 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 music of some African peoples (no longer the most extremely-developed from the musical factor of view) we find an instrument, the sanza, that has vibrating blades [which] might make up a impartial universe – they form a scale that's mounted and modal, as all African scales are.’Footnote 41 with out the mutes and resonant rings that mbira gamers attach to the vibrating blades, the sounds of the blades ‘could’ be impartial, simply as the notes of a piano are neutral before a composer inserts debris between the strings.

Boulez's point out of an African instrument bespeaks the composer's activity in non-European instruments, an hobby that he developed quite early in his musical lifestyles as he honed his composerly skills with the aid of transcribing musics from outside Europe – a tradition that most likely informed Boulez's view of individualized versus impartial sound. during the summer time of 1945, whereas a student at the Paris Conservatoire, Boulez heard Balinese music in a category with Olivier Messiaen, and as he would later account, ‘dreamed, for a moment, of focusing on musicology: now not in the look at of texts, but in ethnomusicological investigation in reference to a department of the Musée de l'Homme or the Musée Guimet’.Footnote forty two This became now not just a dream: after listening to discs of numerous non-European musics, Boulez planned to go on an ethnological excursion to Cambodia and Laos hosted by way of the Musée Guimet in 1946, a voyage straight away cancelled as the First Indochina conflict broke out that iciness.Footnote 43 In coaching, however, Boulez transcribed numerous songs including a ‘Laotian song of possession’ for 2 voices.Footnote 44 This was an ethnographic reconstruction within the most literal feel: based on Luisa Bassetto, the composer seemingly jotted down this music – as well as others from Cambodia and Cameroon – quite right now, possibly as a part of a dictation examine in advance of the ethnographic voyage.Footnote forty five Transcriptions like these are exactly what the Boulez of 1947 would surrender as Artaud's voice rang in his ears. without problems reconstructing (i.e., transcribing) the sounds of ‘added-European’ ritual or spiritual practice did not go some distance sufficient for the restive composer, who in the end did not are looking for ethnomusicological expertise for its personal sake, but somewhat for the sake of expanding the timbral and rhythmic percentages accessible in new track.

Boulez adopted (by using default) a Eurocentric view in keeping with which musical writing makes it possible for for a degree of abstraction and class unknown in cultures that lack a written musical gadget, and his transcriptions of these songs deliver us a hint about what neutral sound got here to mean for him. whereas the recordings housed in ethnographic collections – including these of André Schaeffner, whom Boulez would meet in 1949 and with whom he would correspond for basically two a long time – exerted a selected allure for the composer, he changed into most interested in exploring what a music of spirit possession could turn into in the course of the act of transcribing it and researching its written kind. while Cage (from Boulez's standpoint, anyway) in all probability would have believed that the certain characteristics of sounds – Laotian or in any other case – were unique sufficient on their personal, Boulez felt that in basic terms letting sound be sound (to paraphrase a well-worn Cage-ism) was insufficient. Sound had to flow during the medium of écriture – Boulez's medium – to really develop into song. there's most likely no enhanced summation of Boulez's tackle the change between his and Cage's tactics to sounds – and, for our purposes, of Boulez's own feel of the difference between particular person and neutral sounds – than his statement in the 1949 Cage essay: ‘Noise does indeed have a really terrific immediate physical impact, but making use of this is unhealthy, seeing that its novelty rapidly wears off’.Footnote 46 Noise can strike us powerfully, but simplest so time and again. Buzzing and twanging are insufficient. with the intention to preserve the instant physical effect of noise, perhaps to base a musical language on its visceral presence, a composer should put sound through écriture.Footnote forty seven

For Boulez, Cage's method to sound became now not simplest fallacious; it turned into primitive. ‘In that variety of musical civilization’ – Africa – ‘and with an instrument of this style’ – the mbira – ‘the method has each justification’: those civilizations are primary.Footnote forty eight however would be unjust and ‘opposite to the complete evolution of track’ for a european composer ‘to delimit an instrument inside tremendously general and individualized traits, considering we're moving further and further within the path of relativity’, it really is, towards rendering sound impartial.Footnote 49 only neutral sounds may also be subsumed into a broader texture, permitting their ‘actual’ individuality to ring.

Of direction, Boulez's certain strategy to sound evolved: the violent gestural language of the Deuxième sonate, the gadget of total serialism during which Boulez composed constructions I (1952), and the computers in use at IRCAM two many years later, symbolize diverse moments in Boulez's construction – he become at all times on the stream. Yet, regardless of the various processes that Boulez cultivated, his simple view of sound and writing looks now not to have changed all through his profession. ‘neutral’ or ‘pure’ sound become a lasting conceit, and when you consider that sound can best be ‘impartial’ as soon as it is written – it truly is, once it passes via écriture – neutral sound is barely available to a western composer whereas unwritten ‘added-European’ sounds are always ‘individualized’. The term écriture, hence, now not simplest connotes a compositional formulation – which may also alternate through time – however additionally, more basically, includes a philosophical view of writing premised on the change, formally and ideologically, between particular person (primitive) and impartial (written) sound. Like one in all his early influences, Boris de Schloezer, Boulez believed that écriture allowed for an idealization of sound that become unattainable, as soon as once again, in cultures that lack a written language. The same 12 months he heard Artaud at the Galerie Loeb, Boulez studied Schloezer's newly published Introduction à J.-S. Bach (1947), in which the musicologist, watching for Boulez's personal angle towards the mbira, claimed that non-western musical cultures had been restrained to the cloth conditions of their instruments. ‘The essential characteristic of the area elaborated by way of western musical tradition’, Schloezer trumpeted, ‘is its complete independence from sonorous fabric.’Footnote 50 notwithstanding these remarks are available the context of a piece devoted to Bach, at this moment of the textual content Schloezer's argument becomes wide and sweeping, having more to do with a vital view of western versus non-western musical programs than with any selected composer. in the course of the medium of writing, a composer takes a sound as a ‘number’, no longer as a material element, amounting to a ‘dematerialization’ of the sound area.Footnote fifty one

It is thru Schloezer's affirmation of the western composer's writerly authority – his declare that the ‘creative act of the artist is to embody this number, to cost it with a definite reality, to confer a qualitative cost upon it’ – that we can hear the echoes of an earlier philosophy of writing. through declaring that western phonetic writing is the Aufhebung or ‘sublation’ of non-western styles of writing, G. W. F. Hegel carried out the form of ‘dematerialization’ that characterized Schloezer's suggestion of the western sound house. ‘Intelligence expresses itself automatically and unconditionally through speech’, Hegel proclaimed, asserting that hieroglyphic or pictographic scripts are simply cloth.Footnote 52 A pictogram creates that means throughout the physical hint of a note, whereas phonetic writing prompts the medium of voice, floating free of materiality.

even as Artaud disdained the metaphysics of phonetic writing, he nevertheless relied implicitly on this metaphysics. according to this metaphysics – which Derrida famously termed logocentrism – the presence of voice, of vocal sound, grants western kinds of writing a privileged ontological reputation.Footnote fifty three notwithstanding Artaud sought, in his own idea of the theatre, to disavow the representational norms of theatrical writing in ‘the West’ (as he construed it), the theatre theorist's dream of a ‘hieroglyphic’ writing hinged on the identical East–West dualism that Derrida found in Hegel's philosophy. And despite the fact that Boulez's personal musical writing become in no way, strictly speakme, ‘phonetic’, écriture was his vehicle to subsume expressions drawn from sources backyard of Europe. thus the gap between ‘us’ and ‘them’, between ‘the West’ and the rest, became no longer most effective affirmed however additionally served as a fundamental premise of Boulez's musical language in the course of the a number of degrees of his construction. to hear how Boulez ‘dematerialized’ the sounds of Europe's others in a somewhat later part, let us observe him to South the united states with the Compagnie Renaud-Barrault. within the length following his early come upon with Artaud, Boulez's lifelong quest for ‘pure’ or neutral sound took form as he heard the percussion of Afro-Bahian ritual, sounds that fuelled his endeavour, as he later put it, to ‘soak up’ non-European sounds into the summary and ideal space of western track.

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

[This], for me, is very critical: that we soak up different cultures no longer only with the aid of their content material, but additionally incidentally they are transmitted through sound.

– Boulez, from a late interviewFootnote 54

because the musical director of the Compagnie Renaud-Barrault (from about 1946 to 1956), Boulez encountered many ‘extra-European’ sounds. ‘i am already returned at work on Le “Marteau sans maître”’, he wrote to Stockhausen in August 1954 while on a boat from Brazil to Dakar.Footnote fifty five ‘I've introduced again a haul of ‘exotic’ contraptions: wood bells, double bells product of iron [‘cloches doubles en fer’], Indian flute, little Indian guitar, body drum, bells [‘grelots’], Jew's harp [‘birimbao’] (a very curious instrument from Bahia, but of African beginning).’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, however the connection between Le Marteau and Brazil goes a step extra. while touring Bahia all over the Compagnie's tours of 1950 and 1954, Boulez and Barrault witnessed non secular rituals that the composer dismissed as ‘ineffectual rites and cults’ and that the actor championed as expressions of the essence of Greek tragedy.Footnote fifty seven ‘I noticed macumba’, Boulez mentioned – a term that refers to many kinds of Afro-Brazilian magico-ritual follow.Footnote fifty eight ‘Some absolutely superb things passed off’, he persevered: ‘I remember now, for instance, that there become a black man who weighed as a minimum one hundred ten kilos, big’; after getting into trance, ‘he spun like a spinning suitable, very promptly’, and while ‘all of this … gave the impression very dangerous and violent now and then, it finally became no longer in any respect, on account that you've got children from 4- or 5-years old within the center of all of it’.Footnote fifty nine What Boulez and Barrault possible noticed in Bahia turned into a Candomblé xirê or ‘liturgy’. The time period ‘Candomblé’ connotes various religious practices of West African starting place.Footnote 60 as soon as imported to Brazil beginning within the early nineteenth century, Candomblé grew to be a complex syncretism of African and Catholic beliefs – nevertheless these days, 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 sixty one

The method by which a being, even if black or Indian, unexpectedly finds himself struggling because the Spirit is transmitted to him; the method through which 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 these nocturnal ceremonies – all of this struck me, and, to be able to communicate, certain me to these mysterious and endearing americans.Footnote 62

it can seem to be outlandish to imply that any a part of Le Marteau sans Maître, a monolith of self reliant up to date song, become definitely modelled after a Candomblé liturgy. while Boulez didn't explicitly cite the Candomblé as a supply for Le Marteau, by using inspecting the ‘Commentaire I de “Bourreaux de solitude”’ alongside Barrault's account, we perhaps determine traces of spirit possession taking musical kind.Footnote sixty three Boulez complete the ‘Commentaire’ in South america, mailing the primary achieved draft to his writer, commonplace version, during the 1954 tourFootnote sixty four – and he had already witnessed Candomblé as a minimum once (if now not several times) by this element. The poetic arc of the ‘Commentaire’ follows that of the Candomblé xirê – or, at least, seems to observe the ‘ethnographic reconstruction’ of a xirê that you possibly can read in Barrault's Nouvelles réflexions, or see in a further contemporaneous supply, director Marcel Camus's film Orfeu Negro (1959). while Barrault and Camus every grew to become the Candomblé liturgy into an allegory for a kind of timeless (however finally western) spirituality, Boulez relocated the allegory from the level of illustration to the level of sound, using what can be known as sonic allegory. Of route, Le Marteau doesn't ‘sound like Brazil’; it isn't a literal reconstruction. Boulez neither stated Aeschylus (like Barrault) nor the story of Orpheus (like Camus); as an alternative, I indicate that Boulez's sounds grew to be infused with mythical presence via an allegorical use of the Candomblé.

Figures of the Candomblé liturgy described in ethnographic sources align with the essential characters in Barrault's account. In his Nouvelles réflexions, Barrault describes entering a big gymnasium and watching a bunch of white-clothed initiates walk collectively in opposition t their pai de santo, the main priest.Footnote 65 Accompanied with the aid of the usual beat of a drum – most likely played with the aid of the master drummer, or alabé – the practitioners acquire 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 big Christ's sorrow dominating the desk, and the pervasive scent of the incense gave an strange touch to this small-city cocktail-celebration.’Footnote sixty six

The liturgy that Barrault describes unfolds with a particular pacing and a gradual raise in depth – a sort of dramatic arc harking back to Boulez's ‘Commentaire’. the hole bars produce a in a similar way meditative temper, complete with a subdued processional rhythm (instance 1).

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

Warming up with three leaps of a flute, a xylorimba and pizzicato viola playing short percussive attacks, the ‘Commentaire’ is a rhythmically layered fabric supported through the irregular accents of a body drum (like the one which Boulez brought domestic from Brazil). The score partakes of the cryptographic sublime: with many changing time signatures, the tune seems to conceal an underlying order. Even without cracking the Boulez code, even though, we can hear that the ‘Commentaire’ shares a simple rhythmic characteristic with the Candomblé: a daily pulse – notated with vertical lines in the rating – that will undergird a longer unfolding development.

In Barrault's account, the commonplace drum rhythms accompany the practitioners as they sing a ‘canticle’, and then, all over an interval of silence, the leading priest and practitioners begin smoking ‘cigars … that stimulate hallucination’.Footnote 67 This moment of silence is important to the average narrative arc of the ritual that Barrault describes, just because the insertion of a fermata one third of ways through the ‘Commentaire’ prepares ground for the tumultuous area to observe (instance 2).

instance 2 A fermata ends the primary part. With kind permission of familiar version AG, Vienna.

all the way through the lull, as Barrault bills, a medium elected by the high priest – in all probability the babakekerê or pai pequeño (‘little priest’) – starts off to stroll among the many initiates. The drums beginning once again; the practitioners sing; the medium wanders among them; and as the canticle becomes more intense, at last the medium provokes ecstasy: ‘rapidly probably the most choir singers became electrocuted via the medium. Like a wounded man he bent forward and moved internal the circle.’Footnote 68 Following the motions of this initiate, Barrault starts off to insert vocal utterances drawn from a tons distinct source. ‘let us comply with the “wounded” man. at the start the others don't be aware him … . He looks shocked: “O to to toï”. whatever thing like a burning arrow has stuck within the center of his coronary heart’, and with a grimace of pain, he cries ‘Popoï da!’Footnote 69 This ‘wounded man’ begins to writhe, his actions

harking back to 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 round like a accurate … his face is fully deformed … . He from time to time appears to keep in touch with the Spirit who clings to his neck and speaks to him; he lifts his eyelids and eyebrows to ask: ‘Apollo, god of voyages, the place are you main me?’Footnote 70

After the fermata, an increase in tempo accompanies an intensification in timbre because the subsequent component of the ‘Commentaire’ commences. The xylorimba player 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 instead of diverse beats – and he inserts short-term pauses: we will think about the wounded man bending to the side for a moment earlier than the spasms continue (illustration 3).

example three A extra extreme area erupts after the fermata. With variety permission of generic edition AG, Vienna.

The ‘Commentaire’ ultimately calms, the long-established tempo returning because the bongo participant switches returned to the tambour; then decrescendo; then lull to a quiet conclusion. it is the intensification halfway through this stream, and the following thrashing, jolting rhythms, that betray Boulez's ethnographic source. ‘The candomblé changed into … most impressive’, he recounted, offering ‘a mixture of sound: the exhilaration of the percussion, after which … a calm moment, … at all times with voice – the contrast between percussion-voice, like psalms.’Footnote seventy one The four instrumental voices within the ‘Commentaire’ replicate the four main percussion voices within the xirê: the smallest drum (the lê), the center-sized rumpi, and the bell (agogô) repeat their personal diverse patterns, while the largest drum, the rum, organizes the choreography. The rum player, in line with Gerard Béhague, spurs practitioners to trance through recommendations of dobrar – or diminution, ‘doubling’ the frequency of repetitions – and virar, suddenly transferring to denser rhythmic patterns.Footnote seventy two The intensification midway in the course of the ‘Commentaire’, a kind of virar spurred as the tambour player switches to bongos and as the tempo increases, echoes the type of rhythmic diminution and timbral intensification in which Candomblé drummers thrust practitioners into bouts of santo bruto – or ‘wild god’, an in particular exuberant variety of spirit possession.

This moment of spirit possession looks to pose definite questions of an anthropological bent about the Candomblé as a carried out event (what's going on? how do practitioners understand what is happening?) and concerning the Candomblé's authenticity (does a practitioner basically enter the trance state? does a god actually possess him?). within the state of ‘wild god’, Béhague continues, initiates seem to turn into ‘horses of the deities’ (exin orixá). The ‘concept-graphic’ of a selected 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 examine which orixá has installed the provoke, who henceforth devotes him or (greater commonly) herself to this deity.Footnote seventy three Boulez's remark that the xirê ‘appeared very dangerous and violent every now and then’ but ‘in the end was not in any respect’, given that children walk among the practitioners, had implications that the composer might also not have meant. Candomblé is itself a kind of reconstruction, a deliberate and consciously practised efficiency in which practitioners can enter an additional state of cognizance, but always with an element of handle. Santo bruto permits the phantasm, as David Graeber has written near to definite African fetishes, that the apparent magic one witnesses is each a farce and an genuine religious transformation. each positions seem to coexist, youngsters impossibly: that the Candomblé is ‘mere exhibit’ – a god does not ‘truly’ mount its devotee – and that santo bruto is a real system of fitting. The writhing body is both an actor and a god ‘within the technique of development’.Footnote 74

The seeming or actual presence of gods – reckoning on one's standpoint – has allowed the Candomblé to develop into an allegory for a variety of kinds of religious journey. In Barrault's account, it grew to be an allegory for an at the start 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 production for which Boulez, eagerly at work on Le Marteau, would supply tune. In Cassandra's opening utterance of the Agamemnon, ‘Ototoi popoi da; Apollo, Apollo!’, unintelligible, foreign syllables burst from her lungs as a choir sings, lots as the Bahian chorus accompanies the wounded man's spasms. She calls out to Apollo as she prophesies Agamemnon's impending homicide, quickly to die with him. while sketches of the Compagnie's construction, L'Orestie, are scarce, and Boulez's song is incomplete and no longer carried out, i'm wondering if Cassandra's ecstasies found their method into Le Marteau. in keeping with his and Barrault's plan for the creation, Cassandra's prophecy became to be accompanied via an extended percussion passage (in location of Aeschylus's choir), and you'll be able to think about that this music would have sounded a lot like the ‘Commentaire’.Footnote seventy five

in spite of everything, Barrault whitewashed the Candomblé as an expression of primordial Greek-ness. His account concludes with a vignette of himself, returned domestic in Paris. He pulls his reproduction of Aeschylus's tragedy off the shelf and re-imagines Cassandra's prophetic bouts of hysteria as if she had been a Bahian native, believing that the anonymous wounded man's cries and spasms revealed a pure and timeless ‘proper lifestyles’.Footnote 76 A narcissistic projection indeed, the Bahian ritual reflected for Barrault a deeper Self through the myth of the other: ‘not anything erudite, now not the noted Greek concord of our grammar schools, no longer the Greece of bleached statues, but an archaic, juicy, human, anguished Greece in constant contact with the secret of existence: a magical Greece’.Footnote 77

Barrault turned into now not by myself in viewing the Candomblé as an allegory for a magical Greece. In Camus's Orfeu Negro, launched the identical yr as Barrault's Nouvelles réflexions, the Candomblé turns into a moment in Orpheus's experience to the underworld to find the soul of Eurydice. Set within the mid-twentieth-century slums of Bahia, and featuring Orpheus (performed by way of Breno Mello) as a black guitarist ready to play on the carnival, Orfeu Negro depicts the Candomblé as an genuine expression of contact between the living and the lifeless. The gold-clothed Orpheus attends a liturgy led via a cigar-smoking leading priest, and which facets each an altar to Christ and a circle dance wherein a feminine practitioner turns into possessed, writhing and screaming. The Macumba scene culminates as Eurydice's spirit takes possession of an aged lady standing at the back of Orpheus: Eurydice's acousmatic voice begs him now not to turn around, and when he inevitably does and sees best an aged lady, the voice bids Orpheus farewell perpetually.

Boulez on no account credited the Candomblé as an explicit impact on Le Marteau, and on no account would have stooped to the ‘essential ethnographic reconstructions’ that we will study in Barrault's Réflexions or see in Camus's film. To take the Boulez of 1954 at his be aware would mean believing that the Candomblé had infrequently made an affect on him. The natives exhibited ‘some stunning hysterical states’, the composer wrote to Pierre Souvtchinsky, ‘however the rites and cults … addressed to God, to the satan, to the phallus or to the virgin, are always ineffectual rites and cults for their personal ends’. it's conspicuous that Boulez, at this stage of his development, distanced himself from Artaud – ‘i am more and more convinced that Artaud changed into on absolutely the inaccurate song.’ He brushed aside the rituals for a great deal the equal motive that he disregarded Catholicism (which he must have considered mirrored within the Candomblé): worshipping God or the satan, the virgin or the phallus is ‘ineffectual’, in his words, considering the fact that ‘hysteria [is] one of the crucial passive states’.Footnote 78 To ‘reconstruct’ hysteria in the method of Artaud's Pour en finir, from this viewpoint, could be to aspire to a ‘passive state’, while Boulez sought some thing greater energetic and also greater abstract, musically faraway from Bahia. To ‘organize delirium’ means to consciously create it, to write presence.

The accents of Boulez's frame drum, unlike a Candomblé bell pattern, are reasonably irregular, hardly 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 an everyday pulse interspersed with accents, Boulez follows the poetic arc in which a practitioner, guided through rhythmic and timbral intensification, enters a different 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 (more covert) appropriation: sound itself became a kind of redemptive western allegory during which Boulez affirmed the mysterious energy, the basic drive, of sound.Footnote seventy nine Even in Béhague's ethnographic account, the vigour that track can appear to wield over Candomblé practitioners turns into an oblique allegory for musical autonomy. ‘The immediate call to possession’, he brought up, ‘comes from the tune itself’.Footnote eighty music wields its own mysterious powers: the effects of the Candomblé drums develop into an allegory for the instant religious vigour of the track itself, a tacit acknowledgement of the autonomy of musical aesthetics. And ‘the music itself’ changed into the web site of Boulez's own allegorizing.

Musicology has encountered this situation before. Boulez appropriated an at first religious form devoid of its customary spirituality, a bid for musical purity along the lines of Igor Stravinsky's disavowal of his personal ethnographic sources. The mythic vigour of a springtime rite becomes relocated, via a composer's disavowal of ‘extra-musical’ influences, into the self reliant space of tune. Debunking this modernist fantasy of ‘the music itself’, Richard Taruskin cited the many people songs that Stravinsky wrote into Le Sacre du printemps, and demonstrated that Stravinsky invoked the poetics of the ceremony – whether a virgin sacrifice or the wedding depicted in Les Noces – to convey a primitive immediacy of attention. For Taruskin, Stravinsky's self sufficient music was 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 somewhere in the music itself.Footnote eighty one

For Boulez, too, the primitive state evoked by using a ceremony beckoned against a sonic utopia, however this utopia become even much less worldly. He did not demand a new country wide consciousness, nor did he think about that the sounds of the ethnographic different may find a more customary or more highest quality political truth. in its place, his effort to forge the essence of the other's hysteria devoid of representing a selected ‘other’ reflected possibly the oldest, purest, and quintessentially western philosophical dream: ontology.

Conclusion: To have finished with the judgement of Ontology

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

– DerridaFootnote 82

there is in all probability no stronger term for Greek essence than ontology. ‘A Greek invention first off’, to cite Derrida, the term 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 skill in French Être, in Latin Esse. In English, there is not any method to translate the difference 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 quite problematic’.Footnote 84 Lowercase ‘being’ refers to an entity latest in its temporal and spatial specificity – we will feel of the particular sounds of Boulez's ‘Commentaire’, or the writhing body of Barrault's imagined ‘wounded man’, as ‘beings’ in this feel – whereas Sein (or Being) refers to a more summary sense of presence it truly is presupposed every time one writes. although, as Derrida contended, ‘Être/Sein is nothing’: there is no single ‘essence’ by which to unite diverse beings, due to the fact that ‘that you could on no account discover anything any place that we are able to call Sein, and yet Sein is presupposed each and every time we say “this is a being”’.Footnote 85 This linguistic difference between Seiend and Sein grew to be, in Derrida's philosophy, an ontological différance between the signifier – the selected fabric observe – and the signified, which is most beneficial and immaterial. by staring at that the signifier and signified, like ‘being’ and ‘Being’, indicate diverse and incommensurate temporal orders, Derrida argued that the entire of western metaphysics, which ‘has been constituted in a device (of notion or language) determined on the basis of and in view of presence’, had been working below the spell of a fiction.Footnote 86 Presence, or Being, doesn't ‘exist’ within the strict feel.

Ontology, the bedrock of European philosophy, seems commonly in Derrida to be little greater than a game of writing – notwithstanding far from inane. it's a discourse that grapples with the nature of being throughout the emblems; it's, through ‘cause, discourse, calculation, speech – emblems capability all that – and additionally “gathering”: legein, that which gathers’.Footnote 87 If a trademarks is a ‘gathering’, ontology gathers many disparate beings under the standard experience of Being. here is why, for Levinas, ‘ontology as first philosophy is a philosophy of vigour’.Footnote 88 Philosophical discourses about Being had always been constituted via a procedure of appropriation-by way of-assimilation, when you consider that an ontology takes kind as the different – anything is outside of Being – becomes ‘gathered’ within a western emblems. though Levinas articulated this ‘ontological imperialism’ in the summary, his political implications have been clear satisfactory. As Europe asserted its ‘being’ through financial exploitation and army domination, ontology arose to legitimize the coherency and highbrow supremacy of ‘the West’. This ‘West’, in turn, held ontology as a ‘pure’ and impartial medium to grasp the area, in view that ‘Being, with out the density of beings, is the easy through which beings turn into intelligible’.Footnote 89 ‘The West’ gathers itself by way of subordinating and subsuming whatever thing doesn't enter this easy.

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

Plato talks about a wierd rite which, as a result of cases that threatened the future of their race, turned into performed by using the kings of Atlantis.

despite the fact legendary the existence of Atlantis, Plato describes the Atlanteans as a race of magical starting place. The Tarahumara, who're, for me, the direct descendants of the Atlanteans, continue to devote themselves to the observance of the magical ceremony.Footnote 90

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

via disavowing the ‘essential ethnographic reconstructions’ that we are able to hear in Artaud or read in Barrault, Boulez displaced these explicit western allegories onto sound. Sound grew to be ‘radically different’, and écriture grew to become Boulez's ‘neutral medium’. here's ontological appropriation: musical writing turns into the pure gentle by which a composer writes the different into the top of the line area of western tune. ‘actual’ sounds, what Boulez known as pure or impartial sounds, emerged for the composer handiest when the specific sonic world that he heard in South the united states, or that he encountered via recordings of Laotian or Cambodian music, had been effaced, neutralized, and made a part of his abstract musical imaginings.

is this not how an ontology – any ontology – is made? A method of extraction and inscription makes fact thinkable past erroneous appearances, a technique of writing that makes the very big difference of fact from look viable. besides the fact that children, getting to know Boulez might remind us, to play a little together with his personal ideas, that sound does not ‘turn into ontological’ except it passes through écriture. Ontology is neither a given nor is it a impartial medium – it simplest looks so, as if to name an ontology is to name what in fact is, which is a component of the trick of the time period. Ontology also cloaks the actual with a shroud of secret: a veil conceals many precise voices, ‘individualized’ sounds that fall mute whenever an ontology comes into being. And this same veil commonly functions as a bolster for scholarly authority. Ontology is a writerly conjuring trick, although a atypical one since it appears so innocuous, connoting the ‘in itself’ of things – a real sound past language; a presence past what we can re-present.

In exact a long time, besides the fact that children, many have sought to rescue ontology from its historical baggage as a philosophy of vigour. For proponents of the ‘ontological flip’ in anthropology, there are many possible ontologies. The anthropologist's job, in response to Eduardo Viveiros de Castro, is not to ‘[explain] the area of the different’, but instead to ‘[multiply] our world’ – this is, to extend the discursive ‘worlds’ of anthropology via letting the different continue to be other. ‘The other [is] the expression of a possible world’.Footnote ninety two From this standpoint, ontology isn't any longer ‘a discourse (trademarks) concerning the nature of being’, but, as David Graeber writes, has become ‘a word for “being”, “way of being”, or “mode of existence”’.Footnote 93 The state of santo bruto cannot be judged as precise or phony if the practitioner belongs to a totally distinctive order of being. Yet, if it is an ‘illegal move’, as Viveiros de Castro claims, for the anthropologist to call what appear to be magical moments akin to santo bruto both genuine or false, preserving as an alternative we're witnessing a radically different ontology, then the moral field turns into flattened.Footnote 94 The idea that many different worlds exist, protected from the anthropologist's Eurocentric gaze by using a defend called ‘ontology’, looks to fall into an ethical catch 22 situation commonplace from the times of Franz Boas and his college students. If we region the other in another ‘possible world’ – which is, after all, of our making – then there isn't any basis for certainty, and no purpose to take the other seriously. hence no matter how ‘radical’ or progressive, to quote Paul Rabinow, makes an attempt to construct relativistic theories of cultural change chance ‘[leading] – regardless of their intent – to a variety of nihilism, a reduction of the different to the equal’.Footnote ninety five satirically, in this flattened container in which many ontologies become equally viable, ‘ontology’ regains its long-established that means. If any entity may have or belong to an ontology, then all and sundry and everything is equally ‘ontological’ (and, then, why now not have ontology on the seashore? or ontology in bed?).Footnote ninety six although it may well seem radical to suppose of many feasible ontologies, as soon because the time period is in play, there is simply ever one ontology. It continues to be a discourse, a light-weight during which to light up ‘beings’, making other worlds a part of our personal.

Ontology has now not changed tons considering that Derrida or Levinas wrote about ‘the West’. It has only turn into a kind of trump card for scholarly authority, considering, as Graeber suggests, ‘the problem with cultural relativism is that it places americans in packing containers no longer of their own devising’: ontology ‘simply substitutes a deeper box’.Footnote 97 within the musicological ‘box’, in the meantime, ontology looks to have ‘imperialized’ how some scholars think about sound. making use of Eduardo Kohn's somewhat fundamental definition of ontology – ‘the look at of “reality”’ – to the analyze of sound, we can see that sound regularly stands for simply that: truth.Footnote ninety eight ‘Noise [is] the floor’, as Christoph Cox writes, ‘that offers the circumstance of chance for every articulate sound, as that from which all speech, music, and signal emerge, and to which they return’. Conceiving of the ‘sonic flux’ as an ‘immemorial fabric movement’ that people can actualize by making tune, however which always goes past the human, Cox positions noise as Being itself: the form of presence during which any particular sound or piece of track can also be understood.Footnote ninety nine United in a challenge that Brian Kane termed ‘onto-aesthetics’, Cox holds that sound art discloses its personal ontological situation simply as Nina Eidsheim holds that definite kinds of avant-garde apply – comparable to underwater singing – display the vibrational matter at the heart of sound.Footnote 100 whereas sonic flux resounds past human notion, vibration – which is Eidsheim's replace to ‘noise’ – becomes the elusive pure presence underlying what we can characterize. Ontology, in this experience, is a method to reconfigure subjectivity – ‘if we cut back and limit the realm we inhabit’ by way of retaining to preconceived notions about sound, she argues, ‘we reduce and restrict ourselves’.Footnote one hundred and one A big difference abides between tune-as-look (whatever created) and sound-as-truth, and ‘sensing sound’ permits one to break away of Self-versus-other binaries that continually ‘in the reduction of and restrict’ our self.

regardless of these endeavours to ethically remediate the theory of ontology, the resonances between our latest-day sonic ontologies and the sonic allegories of Boulez and Artaud's day may still make us cautious about the use of ‘ontology’ as a stand-in for fact. Of course, there's a very good distance between Artaud's pure theatre and Mexico, as between Bahia and Barrault's magical Greece. conveniently describing Artaud and Barrault's writings is satisfactory to discover the ethnocentric mindset that we recognize (by means of now) to were a part of artistic modernism. however by some means when the ontology of sound is in question it turns into harder to answer: the place is truth and where is look? For Clifford, all ethnography is (in some sense) surrealist because ethnography all the time comprises aestheticizing its findings.Footnote 102 The different looks to me throughout the writing that i do know, becoming understandable as my illustration; the artwork types and expressions of the other resonate with my notion of my own subculture, and for that reason the other's lifestyle, seen in opposition t mine, turns into a form of art. In sum, all lifestyle will also be some thing of an ethnographic artefact and a work of paintings, actual as a result of farce.

If all ethnography employs surrealist procedures, as a minimum tacitly, i might assignment that sonic ontology-making is surrealistic too. Which quantities to a fairly essential conclusion: ontology-making is, in spite of everything, just that. A making. however it is a atypical sort of poiesis, on the grounds that ontology claims to current issues as they in reality are. thinking via Derrida's conclusions about Artaud, however, i'm wondering if ontology ‘truly’ receives us nearer to the actual. ‘In its closure, it's fatal that representation continues.’ precisely as he sought to disavow an older metaphysical regime – in Derrida's words, to ‘kill the father’, each the non secular Father who judges the world from afar and the creator-God who makes theatre right into a mere ‘double’ of a metaphysical script – Artaud stayed inside metaphysics. As soon as one acknowledges presence, it's already a representation. Presence is a mirage of the precise, an illusory sur-fact vanishing like sound. we will see the boundaries of representation, its closure, but we can not move beyond it. instead, sound reviews frequently ‘reconstructs’ an historic modernist conjuring trick. Ontology-making conceals the maker, becoming another discursive guise for western Writerly Authority. in all probability it's time to find a new tool. Or quite, most likely it's time to have achieved with the self-esteem that sends us on endless discursive quests for sound past the human, or sound ‘submit’-human. let us dispense with fact as soon as and for all.

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