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Music Thinking Process: Unfolding the creation of the piece Résonances manifestes

Published online by Cambridge University Press:  30 November 2020

Hubert Gendron-Blais
Hubert Gendron-Blais*
Affiliation:
Department of Philosophy, McGill University, Montreal, QC, Canada
*
Email: hubert.gendron-blais@mail.mcgill.ca
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Abstract

Beyond the social and even the human, sound opens onto the intertwining of movements animating the lived experience. A sonic epistemology considers not only that the acoustic ecologies are enunciative of social relations and power dynamics, but also that they tell about the way reality is lived, experienced, organised: they are expressive, in themselves. This means, for an epistemology of phonosophy, that every perception of a sound implies a conceptual movement, which carries a mental dimension that could become the material for another thinking practice, for a sophia. This article approaches music as thinking in itself: a thought of the sonic. This affirmation will be expanded through the contribution of process philosophy (Whitehead, Deleuze and Guattari, Manning, etc.), which allows a musical event to be considered as an ecology, produced by the encounter of a multiplicity of bodies (human, sonic, technological, etc.). The processes of capture of forces involved and the different techniques required to increase the expressive potentialities of the musical assemblage will be unfolded through the case of Résonances manifestes, a comprovised music piece based on a sound score composed of field recordings from autonomous demonstrations.

Type
Articles
Information
Organised Sound , Volume 25 , Issue 3: On Phonosophy , December 2020 , pp. 282 - 291
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Copyright
© Cambridge University Press, 2020.

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Discography

Devenir-ensemble. 2020 [forthcoming]. Résonances manifestes. Montreal: Cuchabata records.Google Scholar
Ostertag, B. and the Kronos Quartet. 1991. All the Rage. New York: Nonesuch records.Google Scholar

Gendron-Blais Supplementary Materials

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