Musical performance and its deterritorializing force

For a long time, musical performance was relegated to a peripheral condition in musical ontology, overshadowing by the concept of the work as a crystallized object, around which agents perform specific, well-defined functions. We propose an alliance with a conceptual network grounded in Deleuze, Guattari, and other authors to look at the phenomenon of performance from another perspective: displacing the concept of the work from its stable ontological condition to incorporate movement, considering the deterritorializing potential of musical performance and the possibility of actualizing other forms of existence. Added to this discussion is a case study, with which we sought to put into practice the theoretical reflections discussed throughout the article, resulting in guitar music that never "is", doesn't represent, nor is it performed based on the functional segmentarity of its agents, but is always in process, emphasizing difference and the multiple to the detriment of stable and finished identities.