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On the Digital-Political Topography of Music Michigan Technological University Digital Commons @ Michigan Tech Dissertations, Master's Theses and Master's Dissertations, Master's Theses and Master's Reports - Open Reports 2014 ON THE DIGITAL-POLITICAL TOPOGRAPHY OF MUSIC Daniel William Lawrence Michigan Technological University Follow this and additional works at: https://digitalcommons.mtu.edu/etds Part of the Music Commons, and the Rhetoric Commons Copyright 2014 Daniel William Lawrence Recommended Citation Lawrence, Daniel William, "ON THE DIGITAL-POLITICAL TOPOGRAPHY OF MUSIC", Dissertation, Michigan Technological University, 2014. https://doi.org/10.37099/mtu.dc.etds/785 Follow this and additional works at: https://digitalcommons.mtu.edu/etds Part of the Music Commons, and the Rhetoric Commons ON THE DIGITAL-POLITICAL TOPOGRAPHY OF MUSIC By Daniel William Lawrence A DISSERTATION Submitted in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY In Rhetoric and Technical Communication MICHIGAN TECHNOLOGICAL UNIVERSITY 2014 © 2014 Daniel William Lawrence This dissertation has been approved in partial fulfillment of the requirements for the Degree of DOCTOR OF PHILOSOPHY in Rhetoric and Technical Communication. Department of Humanities. Dissertation Advisor: Dr. Stefka Hristova Committee Member: Dr. Robert Johnson Committee Member: Dr. Karla Kitalong Committee Member: Mr. Christopher Plummer Department Chair: Dr. Ronald Strickland ii Table of Contents List of Figures ........................................................................................................................ v Acknowledgments ................................................................................................................ vi Abstract ................................................................................................................................. vii Chapter 1 Rhetoric and Music: An Introduction................................................................................. 1 Sonic Studies and the Soundscape ........................................................................ 1 Music as Argument .................................................................................................. 7 The Pedagogy of Music in Ancient Greece ....................................................... 17 Music Beyond its Affective Dimension .............................................................. 25 The Exigency for Such a Work ............................................................................ 32 Overview of Chapters ........................................................................................... 39 Methodology ........................................................................................................... 43 Summary .................................................................................................................. 46 Chapter 2 Rhetorical-Musical Invention Through the Material and Immaterial Properties of Music ...................................................................................................................................... 49 Invention .................................................................................................................. 49 Audience, Invention, Rhetorician ........................................................................ 53 Madness and the Ghost: The Non-Presence of Self in Invention ................. 63 iii Chapter 3 The Digital Music Commodity: Memory, Notation, and Reproduction ..................... 70 Song and Civilization ............................................................................................. 70 The Physics of Sound ............................................................................................ 78 The Haunt of the Muses ....................................................................................... 91 The Archivization of Sound ............................................................................... 105 That Which Is Not Seen ...................................................................................... 115 Chapter 4 The Violence of Sound ........................................................................................................ 120 Sonic Bullets and Objective Violence .................................................................. 120 Who Orchestrates Musical Torture? .................................................................... 128 The Political Spaces of Sound .............................................................................. 132 Ode to Whom? ........................................................................................................ 139 Chapter 5 The Significant Function of Music ..................................................................................... 142 Beyond “Figures of Rhetoric” ............................................................................... 142 Rhetorical Listening ................................................................................................. 153 Significant Function ................................................................................................. 160 Conclusion: Musical Locality in the Digital Age ................................................. 166 iv List of Figures Figure 6.1 ................................................................................................................................ 145 Figure 6.2 ................................................................................................................................ 146 Figure 6.3 ................................................................................................................................ 149 v Acknowledgments I endlessly thank my advisor, Stefka Hristova, for her genuine excitement in my project and for the care and attention given to my work. This dissertation would not have been possible without the open and exploratory venue you created for my writing. Many thanks to my committee: Robert Johnson for his advice and guidance, Karla Kitalong for her positive feedback, and Christopher Plummer for sharing his expertise in music composition and production. I thank Tarun Tapas Mukherjee, editor of The Rupkatha Journal on Interdisciplinary Studies in Humanities, for permission to include here portions of my article “Singing Specters: Phenomenology in the Performance of Music,” which first appeared in their October 2013 special issue on Performance Studies. I also thank Kate Comer and the editorial team at Harlot: A Revealing Look at the Arts of Persuasion for permission to include here portions of my article “The Quiet, Wintry North: Digital Folk of the Upper Peninsula” from their April 2013 special issue on Sonic Rhetorics. And my family: no words are worthy to thank you for all the love and support through the years. vi Abstract The persuasive power of music is often relegated to the dimension of pathos: that which moves us emotionally. Yet, the music commodity is now situated in and around the liminal spaces of digitality. To think about how music functions, how it argues across media, and how it moves us, we must examine its material and immaterial realities as they present themselves to us and as we so create them. This dissertation rethinks the relationship between rhetoric and music by examining the creation, performance, and distribution of music in its material and immaterial forms to demonstrate its persuasive power. While both Plato and Aristotle understood music as a means to move men toward virtue, Aristotle tells us in his Laws, through the Athenian Stranger, that the very best kinds of music can help guide us to truth. From this starting point, I assess the historical problem of understanding the rhetorical potential of music as merely that which directs or imitates the emotions: that which “Soothes the savage breast,” as William Congreve writes. By furthering work by Vickers and Farnsworth, who suggest that the Baroque fascination with applying rhetorical figures to musical figures is an insufficient framework for assessing the rhetorical potential of music, I demonstrate the gravity of musical persuasion in its political weight, in its violence—the subjective violence of musical torture at Guantanamo and the objective, ideological violence of music—and in what Jacques Attali calls the prophetic nature of music. I argue that music has a significant function, and as a non-discursive form of argumentation, works on us beyond affect. Moreover, with the emergence of digital music distribution and domestic digital recording technologies, the digital music commodity in its material and immaterial forms allows for ruptures in vii the former methods of musical composition, production, and distribution and in the political potential of music which Jacques Attali describes as being able to foresee new political realities. I thus suggest a new theoretical framework for thinking about rhetoric and music by expanding on Lloyd Bitzer’s rhetorical situation, by offering the idea of “openings” to the existing exigence, audience, and constraints. The prophetic and rhetorical power of music in the aleatoric moment can help provide openings from which new exigencies can be conceived. We must, therefore, reconsider the role of rhetorical-musical composition for the citizen, not merely as a tool for entertainment or emotional persuasion, but as an arena for engaging with the political. viii On the Digital-Political Topography of Music ix We read of how various
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