Re: [microsound] FOR DISCUSSION...

[Peter Price <pprice@xxxxxxxxxxxxx>]

This only makes sense to me in a world that has already defined music 
very narrowly. As of yet, the "corporate music industry" has shown very 
little interest in "making profit" from anything but an extraordinary 
small subset of possible music making. To "avoid reterritorialization" 
is as simple as avoiding the realm of the corporate music industries 
narrow, simpleminded interests.

If the word "pop" is problematic it is perhaps because you are using it 
problematically. Why can't we just agree that "pop" is short for 
"popular"  ;)


On Mar 16, 2005, at 2:27 PM, David Powers wrote:

> How about this... every form of pop music (not to mention musical 
> instrument/interface) has an immanent 
> becoming-punk/becoming-noise/becoming-molecular where it takes flight 
> from the standardized coordinates of the hit song.  At the same time, 
> these deterritorialized musics are always in danger of being 
> reterritorialized and recouped by the corporate music industry, which 
> is constantly seeking out new musical frontiers to colonize in the 
> hopes of making new profits.
>
> And perhaps it is not the musical properties per se that enable or 
> resist this reterritorialization, but instead the relations of musical 
> production - in this regards the growth of forms such as creative 
> commons, netlabel,s and direct distribution from artist to audience 
> are extremely important developments.
>
> I agree that the use of the word "pop" seems problematic from our 
> point of view in 2005.
>
> ~David
>
> David Powers
> Secretary
> DePaul University, School of Education
> Department of Leadership in Education, Language, and Human Services
> 773-325-4806
>
>>>> pprice@xxxxxxxxxxxxx 03/15/05 07:15PM >>>
> my initial question....if "pop" is a "minor literature" what is the
> major literature?
>
> I am reading the linked essay (with some confusion and dismay)...
>
> more questions to follow...
>
>
> On Mar 15, 2005, at 6:30 PM, David Powers wrote:
>
>> Is microsound a form of "pop" music?  Before you answer, see below
>> (maybe some of you have seen this essay before but I have not).
>>
>> http://www.humnet.ucla.edu/echo/volume3-issue1/smithmurphy/
>> smithmurphy1.html
>>
>> EXCERPT from the essay's beginning:
>>
>> Of the many forms of expression through which their thought moves,
>> flowing and multiplying without privilege or hierarchy, Gilles Deleuze
>> and F*lix Guattari number "pop" among the most powerful (in the
>> Spinozian sense, of that which affords the greatest potential for
>> further connection and ramification). In what might at first seem a
>> wildly inappropriate context*their analysis of Kafka's production of a
>> "minor literature"*they define "pop" as:
>>
>>     An escape for language, for music, for writing. What we call
>> pop*pop music, pop philosophy, pop writing*W*rterflucht [word flight].
>> To make use of the polylingualism of one's own language, to make a
>> minor or intensive use of it, to oppose the oppressed quality of this
>> language to its oppressive quality, to find points of nonculture or
>> underdevelopment, linguistic Third World zones by which a language can
>> escape, an animal enters into things, an assemblage comes into play.
>> (Kafka 1986, 26-27)
>>
>> "Pop," then, is for Deleuze and Guattari a form of multiplicity, a
>> rhizome; indeed, in A Thousand Plateaus they insist that "RHIZOMATICS
>> = POP ANALYSIS" (A Thousand Plateaus 24).1 The rhizome, of course, is
>> their well-known image of a decentered system of points that can
>> connect in any order and without hierarchy, a term drawn from botany
>> that names a network of stems, like the strawberry plant, that grows
>> horizontally and discontinuously by sending out runners.
>>
>> David Powers
>> Secretary
>> DePaul University, School of Education
>> Department of Leadership in Education, Language, and Human Services
>> 773-325-4806
>>
>>
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>>
>>
>
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