Messiaen and Deleuze: The Musico-theological Critique of Modernism and Postmodernism  

Oleh:

Pickstock, Catherine

Jenis: Article from Journal - ilmiah internasional
Dalam koleksi: Theory, Culture & Society vol. 25 no. 7 (Dec. 2008), page 173-200.
Topik: Deleuze ¦ music ¦ theology
Fulltext: 173.pdf (452.25KB)

Isi artikel

This article explores an anomaly of modern music. Music has remained more obviously aligned with religious sensibility, practice and belief than other modern art-forms or cultural tendencies. To understand this phenomenon fully, it is not sufficient to see musical composition, performance and reflection as simply expressive of wider cultural and philosophical tendencies, nor as contributing to them in its own idiom. Instead, one must see musical composition and theory as itself, at least in the modern era, a prime mode of philosophical reflection which possesses resources which allow it both to take to an extreme, and yet to criticize fundamental intellectual tendencies of our time. This criticism tends to take the form of a religious transcendence of the secular, despite the fact that it is in no way shielded from the most avant-garde influences. This is exhibited, I shall argue, in the Catholicism of Olivier Messiaen and his legacy, since Messiaen was arguably the central composer of the previous century and the one who has perhaps most directly influenced philosophical understanding.

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