P: Because it takes time for a sound to travel space and travel back, and because it’s reiterative.
M: Why does that necessarily have to involve time? There’s a resonant space and what is happening is the sounding object is bouncing off the boundaries of the space, returning to the sounding object, creating a kind of feedback situation in resonance. Resonance is a good figure for this because it is a place where time and space come together in a material process. P: I want to use resonance as sort of a central figure to organize a lot of different thoughts about music as it’s unfolded as an art form in Western Culture but also about broader issues of time and space. M: What interests you about those topics? What does it mean to you? Re-sonance: sounding again (sonic philosophy)
An example might be: one characteristic of a superior violin is that less energy is required to accomplish this change of state, for the violin to “speak” and so one can play with greater subtlety of tone. In one sense resonance is the name for this change in state. The virtual structures that have something to do with the voice of the object change in response to the object becoming set into motion. Think of this in terms of (re)sonance for a moment: energy is applied to a sounding object. Virtual structure is in a constant state of becoming constrained by the actual state of matter and the space of possibilities these material structures allow. Also it must be remembered that this process works both ways, or as a cycle. “End result” is of course poor choice of language as this process of actualization is without end. In Delanda’s reading of Deleuze, virtual structures drive intensive processes whose end result is material forms. The idea that any sound can be resolved through analysis into constituent sine waves should be thought of in terms of Manuel Delanda’s concept of “virtual structure.” There are no little sine wave generators to be found scattered throughout the actual metric world, but there is perhaps sinusoidal potential in the realm of the virtual topological, to be found at the heart of the sonic process. It is this moment of mediation that technology looks to enter into. What does it mean as a performer to say that you must “feel the music,” it means you must experience in an emotional way what your body is doing on its own. Another term of resonance, perhaps, between the modulation of emotional affect and what it is that your body is doing. The bodily movements of classical musicians are among the most subtle, most complex known to man, and by definition they are not under conscious control. The embodiment of musicians is also a good subject to examine the relationship between consciousness and bodily action. But it is the opposite that is in fact the case, the music works to impart a feeling for the machine. One could imagine the apologetics of these games (if one still needed apologetics) that in them machines work to impart a feeling for music. Perhaps the “rock-band” type video games are also examples of embodied pedagogical processes, but where the transmitting body is a cybernetic robotic one. This is of course one reason why classical traditions are threatened with extinction, the inability to allow those embodied pedagogical processes to be properly mediated by technology. There is a bodily understanding of a musical tradition as a structure of feeling that is transmitted from one body to another. Musical pedagogy, particularly within classical traditions, is embodiment.
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