Well saidjumpin in to say music doesn't *have to* be about intentionality, though. it can be something you're just compelled to do, certain gestures and movements you're drawing from the wider field of sound, the song is only in potential, only implicit until you draw it out, carve it out, there doesn't have to be a goal in mind or even a loose concept or thinking/feeling it as 'a sequence of choices'
which for me resonates lots w the idea of 'purposeless causality', no?
Vimothy: Well spotted. That gets to the heart of the book: forcing that contradiction. On one hand, it’s a sonic-cultural history (lots of stories), but a strange one because it starts from the sonic rather than the cultural. It lets vibration lead us around - cutting across the ’sites’ around which humanities/soc-sci work is usually organized (i.e. they usually ask: “How is sound/music in whatever place/time reflective of the culture”). I try to develop an understanding of the work vibration does in advance of ideas about - i.e. “not what we make of bass, but what it makes of us: […] how does it draw bodily thought into new equations with itself and its surroundings.” There are no “case studies”, just “tales of becoming” (ideas emerging from vibratory encounters), “sonic fictions” (reflections/speculations) and “affective strategies” (“what can we do with this…?”), all of which are grouped together as a “myth-science of the sonic body.”just that music is characteristically purposeful whereas for delueze the universe is purposeless, so there's almost a strange contradiction lurking in the background when music theorists draw on the language of delueze which doesnt ever seem to be addressed
music doesn't have to be about intentionality to be music in the same way that a conversation doesn't have to be about intentionality to be a conversation, but a conversation has to be about something - it has to be intentional - to be a conversation.jumpin in to say music doesn't *have to* be about intentionality, though.?
Think about what is referred to as 'the great organ music" of Marlowe and Shakespeare.A lot of it rhymes with this very famous passage from the poem Prediction Tablet, although here the context is word
"Now a lot of it is transmitted as pressure alone
So weight of it, as force transmitted through it- see it?
Degree of tenderness degree of strength,
as touch, felt at skin receptor site
Maternal to paternal axis
Weights and measures
Where the force locus?
Gale force precipitating
Spatial acoustic dimensions of the
Echo location very advanced sensing equipment
Speaking out of what depth, what extremity torn this utterance/against that cyclonic torque withstood
In that tearing
Lashed that is, to the mast"