"When Boulez casts himself in the role of historian of music, he does so in order to show how a great musician, in a very different manner in each case, invents a kind of diagonal running between the harmonic vertical and the melodic horizon. And in each case it is a different diagonal, a different technique, a creation. Moving along this transversal line, which is really a line of deterritorialization, there is a sound block that no longer has a point of origin, since it is always and already in the middle of the line; and no longer has horizontal and vertical coordinates, since it creates its own coordinates; and no longer forms a localizable connection from one point to another, since it is in 'nonplused time': a deterritorialized rhythmical block that has abandoned points, coordinates, measure, like a drunken boat that melds with the line or draws a plane of consistency. Speeds and slownesses inject themselves into musical form, sometimes impelling it to proliferation, linear microproliferations, and sometimes to extinction, sonorous abolition, involution, or both at once. The musician is in the best position to say: 'I hate the faculty of memory, I hate memories'. And that is because he or she affirms the power of becoming."

Deleuze & Guattari, A Thousand Plateaus (296-97)