Note

The title, Repetition and Difference, is a literary inversion of the title of a book written by Gilles Deleuze.

There is not one binding philosophy behind this piece but rather, multi-fold inspirations taken from Deleuze’s epistemology, “mono no aware” and psychoacoustics. The one recurring topic that unifies these seemingly unrelated schools of thought is their fascination with time and repetition. Repetition and Difference is an attempt to “find”, recreate and experiment on the effects of recurring events. More precisely, an attempt to explore the aesthetic and psychoacoustical implications of repetition. 

Background

Mono no aware (物の哀れ) describes an indescribable sadness one feels about the passing of time and things. A Japanese version of nostalgia, if you would, that is exemplified by cyclical events. The emotion comes from the ability to recognize such patterns and the inability to change. It is this inexplicable feeling that Repetition and Difference are trying to capture. 

Five Japanese haikus, old and new, are deconstructed to their syllabic essences and reconstructed with musical transcription. These transcribed phrases form the backbone of the work. Repetitions or different lengths are scattered throughout the piece in seemingly random order. The recurring repeats are interrupted by spasmodic “musical” intrusions. The juxtaposition of the nonsensical and musical ideas creates a disjunct yet organic stream of thought.

Performance Note

In response to John Cage’s Aria, Repetition and Difference requires musicians to perform the piece in ten different techniques and styles. Each signified by a corresponding “movements” These movements are re-organized in reference to another piece by John Cage: Fontana Mix.

This piece may be performed as a standalone work or in conjunction with John Cage’s indeterminate works. For the premiere, John Cage’s Aria is performed alongside.