Sounding signs: Intentionality and repetition between Peircean and Deleuzian semiotics

This article examines intentionality and habit formation in musical experience through Deleuzian and Peircean semiotic frameworks. Through analysis of experimental music practices, particularly extreme metal and jazz, we investigate how these philosophical perspectives illuminate contemporary musical phenomena. The study begins with an analysis of Deleuze’s critique of phenomenological intentionality and his theory of temporal synthesis at the pre-individual level. This framework is then applied to the musical subgenre of thall to demonstrate processes of differentiation and actualization. The investigation proceeds to Peirce’s semeiotic approach to intentionality, focusing on habit formation and the quasimind in relation to musical practice. Analysis of jazz improvisation and practice routines demonstrates the explanatory power of Peircean habit acquisition theory for understanding musical skill development. The study concludes by identifying theoretical convergences and divergences between Deleuze and Peirce, particularly regarding teleology and processual becoming. This comparative analysis reveals how both philosophical approaches transcend traditional subject–object dichotomies while maintaining distinct positions on teleological aspects of experiential and experimental processes.