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Music of Changes: Disgiunzione Fra Gli Elementi Della Composizione Musicale

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Music of Changes: Disgiunzione Fra Gli Elementi Della Composizione Musicale Alma Mater Studiorum – Università di Bologna DOTTORATO DI RICERCA IN Musicologia e Beni musicali Ciclo XXII Settore Concorsuale di afferenza: 10/C1 Settore Scientifico disciplinare: L-Art/07 Strati, piano, rizoma. John Cage e la filosofia di Gilles Deleuze e Félix Guattari Presentata da: Brent Waterhouse Coordinatore Dottorato Relatore Prof. Cesarino Ruini Prof. Maurizio Giani Esame finale anno 2012 2 Indice Abstract Introduzione 1 Strati. Dal rumore al silenzio: stratificazione e destratificazione 1.1 Introduzione 1.2 La struttura micro-macrocosmica di Cage come forma musicale stratificata 1.2.1 Struttura micro-macrocosmica e orientamento temporale: quattro esempi 1.2.2 La stratificazione in Mille piani; lo strato cristallino 1.3 I quattro elementi della composizione: doppia articolazione e stratificazione 1.3.1 I quattro aspetti della composizione secondo Cage (1949) 1.3.1.1 Il materiale: l’arte dei rumori 1.3.1.2 Il metodo: i corsi di Schoenberg 1.3.1.3 La struttura: l’autonomia del tempo 1.3.1.4 La forma: la morfologia della continuità 1.3.2 La doppia articolazione, da Hjelmslev a Deleuze e Guattari 1.3.3 I quattro elementi della composizione come doppia articolazione 1.3.3.1 Il materiale e il metodo: sostanza e forma del contenuto 1.3.3.2 La struttura e la forma: forma e sostanza dell’espressione 1.4 La musica di Cage dal 1939 al 1952: stratificazione e destratificazione 1.4.1 Stratificazione dei materiali nello String Quartet in Four Parts (1949-1950) 1.4.2 Destratificazione 1.4.2.1 Erosione della struttura: il silenzio nel Discorso su niente (1950) e nel Concerto per pianoforte preparato e orchestra (1951) 1.4.2.2 Music of Changes: disgiunzione fra gli elementi della composizione musicale 1.4.2.3 Destratificazione dei materiali: Imaginary Landscape N° 4 e 5 (1952) 1.4.2.4 4’33’’: silenzio, sensazione, intensità 3 2 Piano. Indeterminazione e cartografia 2.1 Cage cartografo 2.1.1 I primi lavori di Cage con la carta: Music for carillon N° 1-3 (1952-1954), Music for Piano 1-84 (1953-1956) 2.1.2 Il metodo cartografico e le mappe del cielo: Winter Music (1957); Atlas Eclipticalis (1962) 2.1.3 L’utilizzo delle carte negli anni settanta: gli Etudes solistici 2.1.4 Composizione indeterminata e cartografia 2.1.5 Le composizioni Ryoanji (1983-1985) 2.1.6 Conclusioni sulla ‘struttura indivisa’ 2.2 Il “piano fisso sonoro” di Cage 2.2.1 Alcuni sensi del termine “piano” nella musica di Cage 2.2.2 Le “velocità e lentezze” nelle composizioni cartografiche 2.2.2.1 Il tempo liscio e il tempo striato nei cinque lavori discussi all’Ircam nel 1977 2.2.2.2 Il direttore d’orchestra cagiano come “orologio a velocità variabili”: tempo circolare e lineare da The Seasons (1947) ad Atlas Eclipticalis (1961-1962) 3 Rizoma. Struttura variabile e armonia anarchica 3.1 Introduzione 3.1.1 Cage musicista rizomatico: D. Charles, “Gloses sur le Ryoanji” (1976) 3.1.2 Sylvano Bussotti, Piano Piece for David Tudor N° 4 (1959) 3.1.3 Le incisioni e i disegni a matita Ryoanji di Cage 3.2 I mesostici come forma poetica rizomatica 3.2.1 Introduzione 3.2.2 26 Mesostics Re and Not Re Duchamp; 62 Mesostics Re Merce Cunningham 3.2.3 I “Writings-through” Joyce 3.2.4 Due direzioni dei mesostici degli anni ottanta 3.2.4.1 Profusione del materiale: Themes and Variations (1982) 3.2.4.2 Ristrettezza del materiale, gli autoku: Sculpture musicale (1986) 3.3 “Struttura variabile” e “parentesi di tempo” (1981-1992): introdurre la molteplicità nella struttura temporale 4 3.3.1 Introduzione 3.3.2 I Thirty Pieces for String Quartet (1983), fra struttura planare e struttura rizomatica 3.3.3 Il sistema delle parentesi di tempo nei Number pieces, 1987-1992 3.3.3.1 Le proporzioni delle parentesi variabili; la posizione della parentesi fissa 3.3.3.2 Variazioni nella lunghezza delle parentesi: One7 (1990); One4 (1990); One5 (1990) 3.3.3.3 La sovrapposizione delle parentesi: Twenty-three per orchestra d’archi (1988) 3.3.4 Parentesi di tempo, struttura variabile, rizoma 3.3.5 Ostinati irrazionali e parentesi di tempo 3.4 L’“armonia anarchica” di Cage (1976-1992): “n – 1” 3.4.1 Le “sottrazioni” di Cage: Hymns and Variations (1976-79); Apartment House 1776 (1976) 3.4.2 L’armonia in alcuni Number pieces (1987-1992) per piccolo ensemble 3.4.2.1 Three, per una varietà di flauti a becco (1989) 3.4.2.2 Armonia con microtonalità: Four5 (1991) 3.4.2.3 Four, per quartetto d’archi (1989): armonia e molteplicità virtuale 3.4.3 “Un unisono di differenze” 3.4.3.1 L’unità verticale in dissoluzione: l’unisono coreano; 101 per orchestra (1989) 3.4.3.2 Due vie dell’unisono: One per pianoforte (1987); One13 per violoncello (1992), Sixty-eight per orchestra (1992) Appendice. Riferimenti alla musica nei testi di Deleuze e Guattari Bibliografia 5 Abstract In base ad una recensione esaustiva dei riferimenti alla musica e al sonoro nella produzione filosofica di Gilles Deleuze e Félix Guattari, la presente ricerca s’incentra sulla posizione che il pensiero musicale di John Cage occupa in alcuni testi deleuziani. Il primo capitolo tratta del periodo creativo di Cage fra il 1939 e il 1952, focalizzandosi su due aspetti principali: la struttura micro-macrocosmica che contraddistingue i suoi primi lavori, e i quattro elementi che in questo momento sintetizzano per Cage la composizione musicale. Questi ultimi sono considerati in riferimento alla teoria della doppia articolazione che Deleuze e Guattari riprendono da Hjelmslev; entrambi gli aspetti rimandano al sistema degli strati e della stratificazione esposta su Mille piani. Il secondo capitolo analizza la musica dei decenni centrali della produzione cagiana alla luce del luogo in Mille piani dove Cage è messo in rapporto al concetto di “piano fisso sonoro”. Un’attenzione particolare è posta al modo in cui Cage concepisce il rapporto fra durata e materiali sonori, e al grado variabile in cui sono presenti il caso e l’indeterminazione. Le composizioni del periodo in questione sono inoltre viste in riferimento al concetto deleuzo-guattariano di cartografia, e nelle loro implicazioni per il tempo musicale. L’ultimo quindicennio della produzione di Cage è considerata attraverso il concetto di rizoma inteso come teoria delle molteplicità. In primo luogo è esaminata la partitura di Sylvano Bussotti che figura all’inizio di Mille piani; in seguito, i lavori testuali e musicali di Cage sono considerati secondo le procedure compositive cagiane del mesostico, delle parentesi di tempo che concorrono a formare una struttura variabile, e dell’armonia anarchica dell’ultimo Cage. On the basis of a exhaustive identification of the references to music and sound in the philosophical production of Gilles Deleuze and Félix Guattari, the present research concentrates on the position occupied by John Cage’s musical thought in a number of deleuzian texts. The first chapter analyses the works composed by Cage between 1939 and 1952, focusing on two principal aspects: the micro-macrocosmic structure that characterises his first works, and the four elements that resume Cage’s approach to composition in the period in question. The latter are considered in relation to Hjelmslev’s theory of double articulation as elaborated by Deleuze and Guattari; both aspects are referred to the system of strata and stratification found in A Thousand Plateaus. The 6 second chapter is dedicated to the compositions of the central decades of Cage’s production, in the light of the passage of A Thousand Plateaus in which Cage is considered in relation to the concept of a “fixed sonorous plane”. Particular attention is given to the way in which Cage conceives the relation between duration and sound materials, and to the variable degree to which chance and indeterminacy are present. The compositions of this period are furthermore seen in reference to the deleuzo-guattarian concept of cartography, and in their implications for musical time. The last fifteen years of Cage’s production are studied through the theory of multiplicity and the concept of rhizome. The score composed by Sylvano Bussotti that appears at the beginning of A Thousand Plateaus is therefore considered, followed by an examination of Cage’s late textual and musical works, giving particular attention to mesostics, time brackets and variable structure, and anarchic harmony. 7 Introduzione L’individuazione della presenza della musica, dei musicisti e del sonoro nella produzione filosofica di Gilles Deleuze, così come nell’insieme dei testi stesi a quattro mani con Guattari, mette in evidenza un paradosso. Da una parte, come è stato spesso osservato, Deleuze non ha pubblicato uno studio monografico sulla musica, com’è invece il caso dei testi dedicati alla letteratura, alla pittura o al cinema; dall’altra, una recensione dettagliata dei luoghi in cui appaiono i riferimenti alla musica o ai musicisti nella produzione del filosofo francese fa emergere una quantità sorprendente di richiami a compositori e vocalisti, elementi di acustica e di teoria musicale, accostamenti della musica alla pittura e al linguaggio. La presenza del sonoro diventa sempre più diffusa nei testi di Deleuze a partire dagli anni settanta e nel lavoro condotto insieme a Guattari; al di là delle ricorrenze in testi quali Mille piani o La piega. Leibniz e il barocco, che tematizzano esplicitamente questioni inerenti alla musica, la problematica musicale consta non meno di centocinquanta riferimenti all’interno dell’opera: la musica è sicuramente uno degli elementi che anima la filosofia deleuziana (si veda l’appendice per l’elenco dei riferimenti in questione). Una recensione esaustiva dei riferimenti alla musica nei testi deleuziani e deleuzo- guattariani rivela la presenza di compositori ed opere appartenenti sia alla tradizione che alla contemporaneità, così come riferimenti alla canzone popolare o all’utilizzo della voce in senso lato.
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