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Postcolonial Bifurcation

On John Sharpley's Emptiness

Bibliographic Data

ID11446000
AuthorsGavin S K Lee (0000-0002-5160-263X, corresponding author)
Year2019
Volume38
Issue3
Pages316-357
Publication date2019-10-01
Peer ReviewedYes
Open AccessYes
TypeARTICLE
VenueMusic Analysis (JOURNAL)
Journal identifiersISSN: 0262-5245 • E-ISSN: 1468-2249
PublisherWiley (PUBLISHER • GB)
DOI10.1111/musa.12115
OpenAlexW2911673691
LanguageEN
Citations received1
References cited20

One of the lesser‐known terms used by Gilles Deleuze to articulate his conception of difference – or, more accurately, of differentiation – as the condition of existence is ‘bifurcation’, the continuous process of splitting into ever‐more new pathways. Bifurcation is reflected in the life and music of the Texas‐born composer John Sharpley (b. 1955), who moved to Singapore in 1986. In his Emptiness (2002) for Chinese and Western string quartets, chorus and percussion, which sets excerpts from Buddhist and Taoist texts, musical bifurcation is observed in the continuous splitting of modality from chromaticism at multiple structural levels. Musical bifurcation is paralleled in bifurcation in Sharpley's life, as reflected in his transcontinental migration and multiple mystical experiences. As a concept, bifurcation represents the diametric opposite of syncretism (combining), which dominates composers’ discourse and theorists’ analyses. By attending to the dynamics of bifurcation as musical and biographical processes, we might come to appreciate in its full ambiguity and complexity music that crosses cultures. In doing so, we gain further insights into musical orientalism

Art · Bifurcation · Emptiness · Epistemology · Literature · Musical · Nonlinear system · Physics · Music History and Culture · Musicology and Musical Analysis · Neuroscience and Music Perception · Philosophy

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Unique citing works1
Citations per year1
Citation span2025 - 2025 (1)
Citation velocityrecent
Highly citedNo
Citation typesNeutral: 1

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