This is a cross-post from its her factory.
In A Thousand Plateaus, Deleuze and Guattari argue that “music is traversed by a becoming-woman” (272). By this they mean that Western systems of musical organization evoke and confront the very phenomena that serve as these systems’ constitutive exclusions. For example, while tonal harmony was a hierarchical system of consonances (i.e., chords), it nevertheless relied upon the introduction and resolution of (as the nineteenth century progressed, increasingly jarring and destabilizing) dissonances. Similarly, the abjection/rejection/marginalization of “woman” (or better, “girl”) is what solidifies and guarantees patriarchal orders: maleness/masculinity become the “norm” or the “absolute” only insofar as femaleness/femininity are circumscribed as abnormal, unthinkable, and invisible (or, to use Irigaray’s terms, insofar as “woman” is the sex which “is not”). Thus, to claim that “musical expression is inseparable from a becoming-woman” (Deleuze & Guattari, 299) is to posit that [Western, tonal] music works by “confronting its own danger, even taking a fall in order to rise again” (Deleuze & Guattari, 299). As Susan McClary and Catherine Clement have famously argued, the logic of tonality turns upon the evocation and ultimate containment of “feminized” musical elements (e.g., chromaticism, actual female characters in operas, etc.). To say that “musical expression is a “becoming-woman,” then, means that femininity is the danger a musical work confronts, only to rise again. Traditionally, patriarchy has treated femininity as a deterritorializing force, something whose destabilization is necessary and even pleasurable.
But plenty of feminist and non-feminist scholars have pointed out that neoliberalism co-opts and rebrands traditional (white) femininity: the Young-Girl is the ideal model for human capital, just as feminized work–flexible, care-oriented, informal/unpaid–is the new model for labor. As Natalia Cecire puts it, “neoliberalism operates through hypertrophied forms of femininity.” Femininity isn’t deterritorializing, but the mechanism of reterritorialization.
So, in the same way that neoliberalism co-opts femininity and has it lead the charge to “creative destruction,” does it also co-opt “sound” or “music” as the primary medium of and/or metaphor for this work?