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When Nothing Is Called Music: PESSI PARVIAINEN Towards Ecological Composition

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When Nothing Is Called Music: PESSI PARVIAINEN Towards Ecological Composition When Nothing is Towards Ecological Composition Towards Music: is Called When Nothing Called Music: Towards Ecological Composition PESSI PARVIAINEN PESSI PARVIAINEN 60 ACTA SCENICA When Nothing is Called Music: Towards Ecological Composition PESSI PARVIAINEN PESSI PARVIAINEN When Nothing is Called Music: Towards Ecological Composition DOCTORAL RESEARCH Acta Scenica 60 Previous publications in this series: https://actascenica.teak.fi/ PUBLISHER: University of the Arts Helsinki, Theatre Academy, Performing Arts Research Centre © 2020 University of the Arts Helsinki, Theatre Academy, Performing Arts Research Centre and Pessi Parviainen ISBN (printed) 978-952-353-027-0 ISBN (pdf) 978-952-353-028-7 ISSN (printed) 1238-5913 ISSN (pdf) 2242-6485 COVER IMAGE Pessi Parviainen: Töölönlahti: a Parable in Landscape LAYOUT Atte Tuulenkylä, Edita Prima Ltd PRINTED BY Edita Prima Ltd, Helsinki 2020 ISTÖM ÄR ER P K M K PAPER Y I MAXI Offset 250 g/m2, MAXI Offset 120 g/m2 M I KT FONTS LJÖMÄR Painotuotteet Benton Modern Two & Monosten 4041 0002 When Nothing is Called Music: Towards Ecological Composition PESSI PARVIAINEN 60 ACTA SCENICA Table of Contents Tiivistelmä 9 Abstrakt 11 Abstract 13 Acknowledgements 15 Introduction 17 1 The Live ’Musician’: More Than Just Sound 27 1.1 Things That Make You Wonder 27 1.2 Acts That Make You Wonder (Or at Least Laugh) 35 1.4 The Inner Problem of the Initial Premise: Equating Music and Sound 57 2 Concerning the Concept of Music 61 3 A Brief Conceptual History of Music 69 3.1 The Religion of Music 73 3.2 From Plato to the Romans 79 3.3 The Disjuncture… 91 4 The Ancient Hebrew Concepts 99 5 Effects of the Concept of Music in Modern Thought 113 5.1 Neopythagoreans 115 5.2 Interlude: Champagne 122 5.3 The Redefiners 123 5.4 Against Utopias 128 6 On Language 135 6.1 Why Does the Word Matter? Linguistic Relativism 142 7 The Concept of Music and the Total Work of Art 153 8 Without Music 159 8.1 Facing Translation 159 8.2 A World without Music 160 9 Töölönlahti: A Parable in Landscape 173 Works Cited 187 Appendix 1: Töölönlahti: A Parable in Landscape: Credits 191 TIIVISTELMÄ 9 Tiivistelmä When Nothing is Called Music: Ecological Composition Pessi Parviainen, Taideyliopiston Teatterikorkeakoulu, Esittävien taiteiden tut- kimuskeskus Esitarkastettu taiteellinen osa: Töölönlahti: a Parable in Landscape (essee-elokuva, 54’17”, 2019) Ensiesitys 3.5.2019, Kino Regina, Keskustakirjasto Oodi, Helsinki Sellainen taiteellinen toiminta, jota voidaan nimittää sekä musiikiksi että ei-mu- siikiksi, osoittaa ongelman kielenkäytössä. Emme saata kunnolla puhua tällaisista tapauksista, koska ’musiikki’ ei ole siihen sopiva sana. Väitöskirja esittelee joukon esimerkkitapauksia, epätavallisista soittimista ja esittämistavoista sävellettyyn teatteriin, sisältäen esimerkkejä Parviaisen omasta toiminnasta. Ongelman tarkastelu lähtee liikkeelle musiikki-sanan alkuperästä. Tästä edetään käsitehistorialliseen tarkasteluun, joka tapahtuu poikkeuksellisesti keskittyen musiikki-sanaan ja edeten menneisyydestä kohti nykyaikaa, eikä päinvastoin niin kuin yleensä on tehty. Tällä tavoin tulee ilmi musiikki-sanan ja käsitteen dogmaattisuus, joka on yllättävän vakava eettinen ongelma – ongelma, joka näkyy kautta historian, jopa nykyäänkin. Luciano Berio ja Jean-Jacques Nattiez ovat huomauttaneet että musiikki on vain sitä, mitä kutsumme musiikiksi. Tämä huomio on linjassa musiikki-sanan uskonnollisten ja dogmaattisten juurten kanssa. Mutta entäpä jos emme nimittäisikään mitään musiikiksi? Miten sellainen muu- tos vaikuttaisi käsityksiimme ja toimintaamme? PESSI PARVIAINEN 10 Lera Boroditsky ja eräät muut ovat tuoneet esille päivitettyjä todisteita lingvis- tisen relativismin puolesta: kieli vaikuttaa kognitioon, joskus yllättävin tavoin. Osin näihin tukeutuen, käsillä oleva tutkimus esittää että taiteellista toimintaa koskeva diskurssi hyötyisi suuresti jos siinä vältettäisiin tyystin dogmaattisten käsitteiden, kuten musiikin, käyttö. Ei-dogmaattinen kielenkäyttö olisi parem- min linjassa käytännön kanssa. Erilaiset luovuuden alueet toimisivat paremmin yhteen, kun keinotekoiset esteet olisivat poissa. Tällöin avautuu myös mahdollisuuksia ennennäkemättömään yhteispeliin kulttuurin ja yhteiskunnan osa-alueiden välillä laajemminkin. Väitöstyön taiteellinen osio on essee-elokuva, joka esittää Töölönlahden vertaus- kuvallisena maisemana. Kaikki aluetta varten tehdyt kokonaissuunnitelmat ovat epäonnistuneet. Elokuva esittää neljä soittajaa suhtautumassa tähän maisemaan omilla tavoillaan, pienessä mittakaavassa. Elokuva on tarkoitettu ilmaisemaan kirjallisen osion teemoja omasta näkökulmastaan käsin. ABSTRAKT 11 Abstrakt When Nothing is Called Music: Ecological Composition Pessi Parviainen, Konstuniversitetens Teaterhögskolan, Forskningscentrum för teater, dans och performance Förhandsgrandskade konstnärlig del: Töölönlahti: a Parable in Landscape (essä film, 54’17”, 2019) Premiär 3.5.2019, Kino Regina, Helsingfors centrumbibliotek Ode Det finns konstnärlig praktik som kan kallas både musik och icke-musik. Sådana fall är bevis på bristande diskurs: vi kan inte prata ordentligt om dem eftersom ”musik” inte är ett lämpligt ord för att adressera dem. Ett urval av sådana fall presenteras, från ovanliga instrument och perfor- mancestrategier till komponerad teater, inklusive exempel från Parviainens egen konstnärliga praxis. För att undersöka problemets rötter studeras ordet ”musik”. En ovanlig version av musikens konceptuella historia, som följer själva ordets väg genom tiden, pre- senteras. Normalt görs detta omvänt. Men om vi börjar från rötterna, avslöjas dogmatismen i ordet och begreppet "musik" som ett förvånansvärt allvarligt etiskt problem, som manifesteras genom historien såväl som i nuet. Luciano Berio och Jean-Jacques Nattiez har påpekat att musik är det som vi kallar musik. Denna uppfattning överensstämmer med det aktuella ordets religiösa och dogmatiska rötter. Ett radikalt förslag presenteras: tänk om vi inte kallade någonting musik? Hur skulle förändringen påverka vår förståelse och vår praxis? PESSI PARVIAINEN 12 Lera Boroditsky och andra har presenterat uppdaterade bevis för språklig rela- tivism: språk påverkar kognition, ibland på överraskande sätt. Baserat på dessa åsikter föreslår den nuvarande studien att diskursen om konstnärlig praktik skulle förbättras kraftigt om dogmatiska begrepp som ”musik” helt undviks. En icke-dogmatisk diskurs skulle anpassas bättre till praxis. Olika områden med kreativitet skulle förbindas bättre när konstgjorda hinder har tagits bort. Detta skulle också öppna oöverträffade möjligheter för synergi mellan kultur- och samhällsområden. Den konstnärliga delen av den här avhandlingen är en uppsatsfilm som presente- rar Töölönlahti (ett centralt distrikt i Helsingfors) som ett paraboliskt landskap. Det har gjorts många försök att omstrukturera området helt, men de har alla misslyckats. I detta landskap av misslyckade planer presenterar filmen småska- liga interventioner från fyra instrumentalister, anpassning till deras situation. Filmen är avsedd som parabolisk kommunikation som från sin egen vinkel tar upp de frågor som diskuteras i den skriftliga komponenten. ABSTRACT 13 Abstract When Nothing is Called Music: Ecological Composition Pessi Parviainen, Theatre Academy of the University of Arts Helsinki, Performing Arts Research Centre Pre-examined artistic component: Töölönlahti: a Parable in Landscape (an essay film, 54’17”, 2019) Premiere May 3rd, 2019, Kino Regina, the Central Library Oodi, Helsinki There is artistic practice that could be called both music and non-music. Such cases are evidence of an insufficiency in discourse: we cannot properly talk about them because ’music’ isn’t a suitable word to address them. A selection of such cases is presented, from unusual instruments and per- formance strategies to composed theatre, including examples from Parviainen’s own artistic practice. To investigate the roots of the problem, the origin of the word ’music’ is studied. An unusual version of the conceptual history of music, following the path of the word itself throughout time, is presented. Normally, this is done in the reverse. But starting from the roots, the dogmatism of the word and concept ’music’ is revealed as a surprisingly severe ethical problem, manifesting throughout history as well as in the present. Luciano Berio and Jean-Jacques Nattiez have pointed out that music is that which we call music. This notion is in line with the religious and dogmatic roots of the word in question. A radical proposition is presented: what if we called nothing music? How would the change affect our understanding and our practices? PESSI PARVIAINEN 14 Lera Boroditsky and others have presented updated evidence for linguistic rela- tivism: language affects cognition, sometimes in surprising ways. Based on these views, the present study proposes that discourse concerning artistic practice would be greatly improved if dogmatic concepts like ’music’ were avoided entirely. A non-dogmatic discourse would align better with practice. Different areas of creativity would connect better, once artificial hindrances are removed. This would also open up unprecedented possibilities for synergy between areas of culture and society. The artistic component of the present dissertation is an essay film, presenting Töölönlahti (a central district in Helsinki) as a parabolic landscape. There have been many attempts to completely redesign the area, but they have all failed. In this landscape of failed plans, the film presents small-scale
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