ABSTRACT

Music moves Gilles Deleuze's work in order to break it away from the monopoly of philosophers, to ex-pose it to a plurality of influences and appropriations. In order to grasp the notion of intensity in Deleuze, one must turn to Nietzsche, to Bergson, to Spinoza and to a certain extent to mathematicians such as Lautman and Ruyer. Intensity in Deleuze can be understood by taking certain notions on a detour: singularity, the event, waves, and the speed of the concept. Nietzsche, through the intensity that the eternal return and the will to power express, inspires the idea in Deleuze whereby intensity is the means by which musical art secures the renewed creation of affects. This chapter discusses how music can be made into a heterogenesis where both material and compositional forces in action express differences.