Phantom Limbs: On Musical Bodies
The prostheses Peter Szendy explores—those peculiar artifacts known as musical instruments—are not only technical devices but also bodies that live a strange phantom life, as uncanny as a sixth finger or a third lung.The musicological impulse to inventory those bodies that produce sound is called in...
Gespeichert in:
| 1. Verfasser: | |
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| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
New York, NY
Fordham University Press
[2015]
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| Schlagworte: | |
| Online-Zugang: | FAB01 FAW01 FHA01 FKE01 FLA01 UPA01 UBG01 FCO01 Volltext |
| Zusammenfassung: | The prostheses Peter Szendy explores—those peculiar artifacts known as musical instruments—are not only technical devices but also bodies that live a strange phantom life, as uncanny as a sixth finger or a third lung.The musicological impulse to inventory those bodies that produce sound is called into question here. In Szendy’s hands, its respectable corpus of scholarship is read aslant, so as to tease out what it usually prefers to hide: hybrids and grafts produced by active fictions, monsters, and chimera awaiting the opportunity to be embodied. Beyond these singular bodies that music composes and disposes there lies the figure of a collective "social" body ready to emerge amid an innervated apparatus that operates at a distance, telepathically.Phantom Limbs touches on bodies of all shapes and sizes that haunt the edges of music’s conceptualizations. Music continually reinvents such bodies and reconvenes them in new collective formations. It is their dynamics and crystallizations that Szendy auscultates on a motley corpus that includes Bach, Diderot, Berlioz, Eisenstein, Disney, and Monk |
| Beschreibung: | Description based on online resource; title from PDF title page (publisher's Web site, viewed 23. Jul 2020) |
| Beschreibung: | 1 online resource (208 pages) |
| ISBN: | 9780823267088 |
| DOI: | 10.1515/9780823267088 |
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| 520 | |a The prostheses Peter Szendy explores—those peculiar artifacts known as musical instruments—are not only technical devices but also bodies that live a strange phantom life, as uncanny as a sixth finger or a third lung.The musicological impulse to inventory those bodies that produce sound is called into question here. In Szendy’s hands, its respectable corpus of scholarship is read aslant, so as to tease out what it usually prefers to hide: hybrids and grafts produced by active fictions, monsters, and chimera awaiting the opportunity to be embodied. Beyond these singular bodies that music composes and disposes there lies the figure of a collective "social" body ready to emerge amid an innervated apparatus that operates at a distance, telepathically.Phantom Limbs touches on bodies of all shapes and sizes that haunt the edges of music’s conceptualizations. Music continually reinvents such bodies and reconvenes them in new collective formations. It is their dynamics and crystallizations that Szendy auscultates on a motley corpus that includes Bach, Diderot, Berlioz, Eisenstein, Disney, and Monk | ||
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| spelling | Szendy, Peter Verfasser aut Phantom Limbs On Musical Bodies Peter Szendy New York, NY Fordham University Press [2015] © 2015 1 online resource (208 pages) txt rdacontent c rdamedia cr rdacarrier Description based on online resource; title from PDF title page (publisher's Web site, viewed 23. Jul 2020) The prostheses Peter Szendy explores—those peculiar artifacts known as musical instruments—are not only technical devices but also bodies that live a strange phantom life, as uncanny as a sixth finger or a third lung.The musicological impulse to inventory those bodies that produce sound is called into question here. In Szendy’s hands, its respectable corpus of scholarship is read aslant, so as to tease out what it usually prefers to hide: hybrids and grafts produced by active fictions, monsters, and chimera awaiting the opportunity to be embodied. Beyond these singular bodies that music composes and disposes there lies the figure of a collective "social" body ready to emerge amid an innervated apparatus that operates at a distance, telepathically.Phantom Limbs touches on bodies of all shapes and sizes that haunt the edges of music’s conceptualizations. Music continually reinvents such bodies and reconvenes them in new collective formations. It is their dynamics and crystallizations that Szendy auscultates on a motley corpus that includes Bach, Diderot, Berlioz, Eisenstein, Disney, and Monk In English MUSIC / History & Criticism bisacsh Human body in music Music Philosophy and aesthetics Bishop, Will Sonstige oth https://doi.org/10.1515/9780823267088 Verlag URL des Erstveröffentlichers Volltext |
| spellingShingle | Szendy, Peter Phantom Limbs On Musical Bodies MUSIC / History & Criticism bisacsh Human body in music Music Philosophy and aesthetics |
| title | Phantom Limbs On Musical Bodies |
| title_auth | Phantom Limbs On Musical Bodies |
| title_exact_search | Phantom Limbs On Musical Bodies |
| title_exact_search_txtP | Phantom Limbs On Musical Bodies |
| title_full | Phantom Limbs On Musical Bodies Peter Szendy |
| title_fullStr | Phantom Limbs On Musical Bodies Peter Szendy |
| title_full_unstemmed | Phantom Limbs On Musical Bodies Peter Szendy |
| title_short | Phantom Limbs |
| title_sort | phantom limbs on musical bodies |
| title_sub | On Musical Bodies |
| topic | MUSIC / History & Criticism bisacsh Human body in music Music Philosophy and aesthetics |
| topic_facet | MUSIC / History & Criticism Human body in music Music Philosophy and aesthetics |
| url | https://doi.org/10.1515/9780823267088 |
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