ABSTRACT
The music and thought of Luciano Berio present a rich field of possibilities for thinking through the implications of Gilles Deleuze's writings on the arts and particularly those written about music. Berio's music has frequently been a topic of analytical interest for music theorists, yet an appropriate set of analytical tools that engage meaningfully with his philosophical and creative sources has appeared relatively elusive by some commentator's lights. The first volume of Capitalism and Schizophrenia is usually regarded as a direct response to the events of the student/worker uprisings in Paris, May 1968, but the implications and extensions of Deleuze and Guattari's revolutionary work need not be restricted solely to that historical context. If a minor literature always deterritorializes a major language, and Deleuze and Guattari insist that it does, then we may begin to position Berio's transformation of the music of the past in similar terms.
