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Deep Refrains Deep Refrains music , philosoph y, a nd the ineffa ble Michael Gallope The University of Chicago Press chicago & london The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2017 by The University of Chicago All rights reserved. No part of this book may be used or reproduced in any manner whatsoever without written permission, except in the case of brief quotations in critical articles and reviews. For more information, contact the University of Chicago Press, 1427 E. 60th St., Chicago, IL 60637. Published 2017 Printed in the United States of America 26 25 24 23 22 21 20 19 18 17 1 2 3 4 5 isbn- 13: 978- 0- 226- 48355- 9 (cloth) isbn- 13: 978- 0- 226- 48369- 6 (paper) isbn- 13: 978- 0- 226- 48372- 6 (e- book) doi: 10.7208/chicago/9780226483726.001.0001 library of congress cataloging-in-publication data Names: Gallope, Michael, author. Title: Deep refrains : music, philosophy, and the ineffable / Michael Gallope. Description: Chicago : The University of Chicago Press, 2017. | Includes bibliographical references and index. Identifiers: lccn 2017021802| isbn 9780226483559(cloth : alk. paper) | isbn 9780226483696 (pbk. : alk. paper) | isbn 9780226483726 (e-book) Subjects: lcsh: Music—Philosophy and aesthetics. | Bloch, Ernest, 1880–1959—Criticism and interpretation. | Adorno, Theodor W., 1903–1969—Criticism and interpretation. | Jankélévitch, Vladimir—Criticism and interpretation. | Deleuze, Gilles, 1925–1995—Criticism and interpretation. | Guattari, Félix, 1930–1992—Criticism and interpretation. Classification: lcc ml3800 .g18 2017 | ddc 781.1/7—dc23 lc record available at https://lccn.loc.gov/2017021802 This paper meets the requirements of ansi/niso z39.48- 1992 (Permanence of Paper). c o n t e n t s Musical Examples vii Figures ix Introduction i prelude A Paradox of the Ineffable 33 0.1 Schopenhauer’s Deep Copy 34 0.2 The Platonic Solutions 42 0.3 Four Dialectical Responses (after Nietzsche) 49 1 Bloch’s Tone 63 1.1 The Tone 69 1.2 The Natural Klang 77 1.3 The Expressive Tone 79 1.4 Bloch’s Magic Rattle 81 1.5 The Tone’s Ineffable Utopia 84 1.6 The Event- Forms 91 1.7 A Dialectical Account of Music History 95 1.8 Utopian Musical Speech 98 2 Adorno’s Musical Fracture 107 2.1 Adorno’s Tone 111 2.2 Adorno’s Conception of History 118 2.3 Tendenz des Materials 122 2.4 Music’s Language- Like Ineffability 127 2.5 The Immanent Critique 136 2.6 The Paradox of Mahler’s Vernacular 145 2.7 The Curve of Inconsistency 155 interlude Wittgenstein’s Silence 160 3 Jankélévitch’s Inconsistency 166 3.1 Bergson and the Inconsistency of Time 169 3.2 The Aporetic Source of Fidelity 173 3.3 Charme 181 3.4 Cosmic Silence 191 3.5 Unwoven Dialectics 199 4 Deleuze and Guattari’s Rhythm 204 4.1 Deleuze’s Rhythm 207 4.2 The Rhythm of Sense 211 4.3 A Structuralist Quadrivium 215 4.4 The Rhythm of Life 224 4.5 Sonorous Coextensions 229 Conclusion: A Paradox of the Vernacular 244 Acknowledgments 260 Notes 261 Select Bibliography 301 Index 325 m u s i c a l e x a m p l e s 1.1. Wolfgang Amadeus Mozart, Die Zauberflöte, K. 620, act 2, “Der, welcher wandert diese Straße voll Beschwerden,” mm. 15– 25 100 1.2. Ludwig van Beethoven, Symphony no. 3 in E- flat major, “Eroica,” op. 55, mvt. 2, mm. 114– 21 101 2.1. Arnold Schoenberg, Harmonielehre, 53 129 2.2. Beethoven, Sonata no. 14 in C- sharp minor, “Quasi una fantasia,” op. 27, no. 2, mm. 162– 66 135 2.3. Schoenberg, Herzgewächse, op. 20, mm. 1– 2, harmonium part (right hand) 139 2.4. Schoenberg, Herzgewächse, op. 20, mm. 1– 4, soprano part 140 2.5. Schoenberg, Herzgewächse, op. 20, mm. 15– 18, soprano part 140 2.6. Schoenberg, Herzgewächse, op. 20, m. 5, harmonium part 141 2.7. Schoenberg, Herzgewächse, op. 20, m. 5, harp part 141 2.8. Schoenberg, Herzgewächse, op. 20, m. 18 143 I.1. Robert Schumann, Dichterliebe, op. 48, mm. 4– 12 162 3.1. Franz Schubert, Die schöne Müllerin, “Morgengruß,” op. 25, mm. 12– 15 172 3.2. Antonín Dvoˇrák, Trio, “Dumky,” op. 90, B. 166, mvt. 6, mm. 1– 26 185 3.3. Erik Satie, Vexations, m. 1 187 3.4. Maurice Ravel, Le tombeau de Couperin, “Prélude,” mm. 1– 3 188 3.5. Claude Debussy, Pelléas et Mélisande, act 1, scene 1, rehearsal no. 2, mm. 1– 12 196 4.1. Schumann, Fantasiestücke, “Warum?” op. 12, no. 3, mm. 1– 16 236 f i g u r e s 0.1. Schopenhauer’s metaphysics of music 47 1.1. Hegel’s Klang 78 1.2. Bloch’s tone 90 3.1. Quiddity versus quoddity 174 3.2. A page from the autograph manuscript of Jankélévitch, La mort 176 3.3. Quiddity’s fidelity to quoddity 178 3.4. Music’s speculative multiplicities 191 4.1. Deleuze’s rhythm 209 4.2. The “Divine Monochord” from Robert Fludd, Turiusque cosmi . . . historia (1617), 1:90 222 4.3. Bowerbird photograph 226 4.4. Jakob von Uexküll, “Originaler Wirkkreis von Uexküll” 227 4.5. Paul Klee, Die Zwitscher- Machine 239