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Phantom Limbs: On Musical Bodies, Peter Szendy


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Автор: Peter Szendy
Название:  Phantom Limbs: On Musical Bodies
ISBN: 9780823267057
Издательство: Mare Nostrum (Eurospan)
Классификация:

ISBN-10: 0823267059
Обложка/Формат: Hardback
Страницы: 208
Вес: 0.36 кг.
Дата издания: 2015-11-02
Язык: English
Размер: 218 x 142 x 18
Основная тема: Music reviews & criticism,Philosophy: aesthetics, MUSIC / Genres & Styles / Classical,MUSIC / History & Criticism,PHILOSOPHY / Aesthetics,PHILOSOPHY / General,PHILOSOPHY / Mind & Body
Подзаголовок: On musical bodies
Ссылка на Издательство: Link
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Поставляется из: Англии
Описание:

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.



Phantom Limbs: On Musical Bodies

Автор: Peter Szendy
Название: Phantom Limbs: On Musical Bodies
ISBN: 0823267067 ISBN-13(EAN): 9780823267064
Издательство: Mare Nostrum (Eurospan)
Рейтинг:
Цена: 25910.00 T
Наличие на складе: Невозможна поставка.
Описание:

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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