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Stylistic Affinity and Structural Homology Between Bergson and Debussy

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Stylistic Affinity and Structural Homology Between Bergson and Debussy View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Universidade de Brasília: Portal de Periódicos da UnB THE SPIRITUALISTE CONNECTION: STYLISTIC AFFINITY AND STRUCTURAL HOMOLOGY BETWEEN BERGSON AND DEBUSSY Jane Ellen Harrison Dr. Erol Ücer Center for Advanced Studies in Music (MIAM) Istanbul Technical niversit! (ITÜ) Jane.harrison"#$%&ail.com Abstract' This article (ro(oses so&e reasons for the stri)in% si&ilarit! &an! authors have found bet*een Claude Debuss!'s &usic and Henri ,er%son's (hiloso(hical *ritings- b! situating the& in the s(iritualiste &ove&ent. .ith the aid of ,ourdieu+s /eld theor!- ,er%son0s and Debuss!0s leading (ositions as s(iritualistes are sho*n to be ho&olo%ous. Esche*ing institutional and (olitical (o*er and instead focusing on creative *or)s that e&(hasi1ed individual freedo&- the (hiloso(her and the co&(oser too) relativel! autono&ous (ositions *ith hi%h s!&bolic ca(ital in their /elds. The ali%nment of their (ositions &a! e2(lain the st!listic- substantive- and functional connections others have (erceived in their *or)s. Key or"s: S(iritualiste- Debuss!- ,er%son, ,ourdieu- Ho&olo%!. A CONE#$O ESPIRITUALISTA: AFINIDADE ESTILÍSTICA E HOMOLOGIA ESTRUTURAL ENTRE BERGSON E DEBUSSY Res&'!' Este arti%o (ro(3e al%u&as ra13es (ara a i&(ressionante si&ilaridade encontrada (or v4rios autores entre a &5sica de Claude Debuss! e os escritos /los6/cos de Henri ,er%son ao situ47los no &ovi&ento es(iritualista. Co& o au28lio da teoria do ca&(o de ,ourdieu- as (osi93es do&inantes de ,er%son e Debuss! co&o es(iritualistas s:o e2(ostas co&o ho&6lo%as. Evitando abordar o (oder institucional e (ol8tico e- ao inv;s disso- focando sobre as obras criativas <ue enfati1ava& a liberdade individual- o /l6sofo e o co&(ositor assu&ira& (osi93es relativa&ente aut=no&as co& alto ca(ital si&b6lico nos seus ca&(os. > alinha&ento das suas (osi93es Jane Ellen Harrison- The s(iritualiste connection' st!listic a?nit! and structural ho&olo%! bet*een 56 ,ergson and Debuss!- Música em Contexto- ,ras8lia @A. B (CDBE)' EE7FF. (ode& e2(licar as cone23es estil8sticas- substantivas e funcionais (ercebidas nas suas obras. Pa(a)ras*c+a)e: Es(iritualis&o- Debuss!- ,er%son, ,ourdieu- Ho&olo%ia. I,tr!"&ct-!, Get0s be%in *ith *hat *as for &e a pivotal &oment. I had been investigatin% the (henomenon of HdebussysmeI- the na&e Jrench &usic critics used to label a com&unit! of adorers and i&itators of Debuss!0s &usic that the! perceived to have sprun% u( soon after the pre&iere of Pelléas et Mélisande in B#DC (Harrison CDBB). In accordance *ith these *riters- I had seen that indeed- do1ens of composers *ere to var!in% de%rees e&plo!in% sounds and for&al techni<ues re&iniscent of Debuss!. ,ut- I disa%reed *ith critics such as Kierre Galo (B#DL) *ho *rote that this creative phenomenon *as best understood as &indless i&itation of Debuss!. I thought that this shared set of techni<ues *as bein% used to depict- celebrate- and sti&ulate the interior life of the unconscious or instinctive &ind- as Jrench intellectuals envisioned it Maround B#DD (Harrison CDBB- #F7 BEL). To &e- the for& and character of subtle- unpredictable- intert*ining te2tural strea&s in unconventional- processual for&s that this debussyste &usic so often took bore an intriguin% si&ilarit! to Henri ,ergson0s descriptions of the durée pure, the /nel! detailed and spontaneous comple2es of &ental activit! that he clai&ed constituted pre7conscious thought. I *as not the /rst &usic scholar to sense a connection bet*een Debuss! and ,ergson' such re&arks have been &ade b! Nlad&ir Jan);l;vitch- Jann Kasler- and Daniel Shanahan- *ho have used ,ergson0s (rose as an interpretive lens for this &usic. .hat none of these scholars have !et addressed in a satisf!in% *a! is the ho* and *h! of these connections. Ho* had this Oevista do Krogra&a de K6s7Pradua9:o e& M5sica da niversidade de ,ras8lia Ano IX- volu&e B (outubro de CDBE) Jane Ellen Harrison- The s(iritualiste connection' st!listic a?nit! and structural ho&olo%! bet*een ,ergson and Debuss!- Música em Contexto- ,ras8lia @A. B (CDBE)' EE7FF. 57 uncann! si&ilarit! bet*een Debuss!0s &usic and ,ergson0s (hilosophical *ritings occurred- %iven that bein% born onl! three !ears apart- neither one could serve as a predecessor to the otherR Jurther&ore- there is no evidence that the! had a personal relationship or )ne* &uch about each other0s *or). M! pivotal scholarl! &oment occurred one afternoon *hen I found some clues in Kierre ,ourdieu0s essa!- HThe /eld of cultural (roduction' or- the economic *orld reversedI. In the &idst of treatin% his &ain subject- B#th7centur! Jrench literature- ,ourdieu for&ed the outline of a *eb connectin% Debuss!- Mallar&;- and ,ergson. I sa! Houtline of a *ebI because the connections *ere faint. In one lon% aside on the need to e2a&ine Mallar&;0s positions and dispositions- ,ourdieu &entions Jaur; and Debuss!- connectin% all three /gures to conte&poraneous trends of &!sticis&- irrationalis&- nostalgia of certain audiences for Hlost %randeurI- and a stru%%le against @aturalis&- scientis&- and positivis&. Here he also &entions the (hilosophers Jouill;e- Gachelier- and ,outrou2- the teacher of ,ergson (,ourdieu B##T- EU). A short *hile later- ,ourdieu validates ,ougl;0s labelin% of ,ergson as a Hrepresentative of the Vspiritualist initiative0I (,ourdieu B##T- E#). Weepin% *ith his idea that relationships a&on% (rofessional positions is d!na&ic- ,ourdieu does not dra* strong lines bet*een these /gures- !et the suggestion of a relationshi( bet*een ,ergson and Debuss! is there- *ithin the conte2t of Mallar&;0s (rofessional autonom!- and the ke! *ord see&ed to be Hspiritualis&I. That *ord *ill be a focal point of this article. The lac) of attention given to spiritualis& in conte&porar! (hilosophical scholarshi( &a! relate to the bad na&e that Hspiritualis&I has ac<uired in the En%lish7spea)in% *orld- as the label for the reli%ious &ove&ent centered in the .S. that occurred at roughl! the sa&e ti&e. Its &ediu&s and astrologers eventuall! ac<uired a negative reputation as con artists and delusional Oevista do Krogra&a de K6s7Pradua9:o e& M5sica da niversidade de ,ras8lia Ano IX- volu&e B (outubro de CDBE) Jane Ellen Harrison- The s(iritualiste connection' st!listic a?nit! and structural ho&olo%! bet*een 58 ,ergson and Debuss!- Música em Contexto- ,ras8lia @A. B (CDBE)' EE7FF. necromancers. The spiritualisme ,ourdieu refers to *as an intellectual &ove&ent in opposition to the dominance in late B#th7centur! Europe of the natural sciences- nascent scienti/c &ethod- and &echanistic or atomistic theories that &an! people believed could account for all aspects of hu&an life (Wnight B#FL). In Jrench- the *ord spiritualisme derives from HespritI- *hich since the BUth centur! referred to the hu&an faculties of reasonin% and i&agination as *ell as to the supernatural. ,ergson- for e2a&ple- opposed Herbert Spencer and his contention that all phenomena could be e2plained b! a universal la* of evolution (Pallagher B#UD- BU). Jrench and En%lish7language pri&ar! sources startin% around B#DD are pervaded b! references to ,ergson as a leader of this intellectual &ove&ent. As an A&erican acade&ic su&&ari1ed it in B#BE- in opposition to the Hradical e&(iricistsI *ithin (hilosoph! Bergson erects the free and enduring movement discoverable in our inner life into the metaphysical substrate of all being…For Bergson found that in proportion as the mind devotes itself to practical thinking, submitting to the limitations of matter and of space and to the laws of logic, it becomes incapable of grasping reality—metaphysically impotent# $North &merican 'evie!, ()(*+ To distinguish this intellectual &ove&ent in Jrance from A&erican popular spiritualis&- I use the Jrench ter& spiritualisme in this articleB. M! pri&ar! argu&ent in this article is that the &ain substance of the resonances bet*een Debuss!0s and ,ergson0s te2ts are not pri&aril! te2tual (not a &atter of te2ts0 inXuence or inspiration over B Althou%h distinctive- this philoso(hical spiritualisme circulatin% a&on% European and A&erican acade&ics did overla( with s(iritualist reli%ion. Ber%son0s sister &arried an occultist and ma%ician- and Debuss! maintained a relationshi( with occultist Ed&ond Baill! and his circle durin% the 1F#Ds. Oevista do Krogra&a de K6s7Pradua9:o e& M5sica da niversidade de ,ras8lia Ano IX- volu&e B (outubro de CDBE) Jane Ellen Harrison- The s(iritualiste connection' st!listic a?nit! and structural ho&olo%! bet*een ,ergson and Debuss!- Música em Contexto- ,ras8lia @A. B (CDBE)' EE7FF. 59 other te2ts or of ideas bein% traded a&on% te2ts) but sociological. ,! Hte2tI I &ean an! bounded result of creative activit! that has survived in a /2ed for&- including &usical scores- books- letters- intervie*s- and recorded &e&ories. The lin)s bet*een these te2ts result from the relatedness of Debuss!0s and ,ergson0s socio7(rofessional positions at a particular &oment in histor!. Dra*in% from other sociologicall!7 oriented studies on these /elds in fin-de-siècle Jrance- I ai& to sho* ho* the /elds of philosoph! and &usic composition can be understood to have ali%ned in certain *a!s. The theoretical fra&e*or) for these clai&s rests on ,ourdieu0s particular notions of H/eldI- homology bet*een /elds- and the (rinciple of autonomous hierarchi1ation of the /eld.
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