The body matters in the humanities and within social and cultural studies. It is variously understood as a knowledge store and transmitter, as a node of perception and cognition, as a site of discipline and power and as a locus of identity and agency. But how is the body integral to our concept of music? With increasing interest, Musicology is discovering the epistemological role of the body and its potential as analytical tool, pursuing avenues such as affect studies, performance studies, gender in music and musical perception and cognition. This volume of collected works draws on an international conference, held at the Department of Musicology at the University of Göttingen in 2019, that aimed to bring together various theoretical perspectives relating to the body and evaluating its present musicological relevance. It explores pathways into a fundamental debate on the body as a central musicological category and reflects on the relevance of this category in the application of diverse musical objects and practices. Composition and performance, aesthetic discourse and sociological analysis, perception and production are all discussed in relation to bodily knowledge, bodily practice and bodily norms. Historical, contemporary, analytical, ethnographic and artistic-experimental approaches reflect the richness of the musicological discipline and its forays into the musical body. The publication contains twelve different approaches to the body in music in German and English by Sylvain Brétéché, Max Ischebeck, Werner Jauk, Jasna Jovicevic, Moritz Kelber, Tobias Knickmann, Ina Knoth, Madeleine Le Bouteiller, Alastair White, Martin Winter, Stefanie Schroedter and Martin Zenck.:Abbreviations 7 Christine Hoppe, Sarah Avischag Müller: Musicological Pathways into the Body in Music 9 Moving Sounds, Moving Bodies Stephanie Schroedter: Körper und Klänge in Bewegung – Körperliche Dimensionen von Musik zwischen Embodiment und Enaction 29 Moritz Kelber: Mehr als nur berührend. Die Hand in der Musikpraxis der Frühen Neuzeit 57 Martin Zenck: Musik – eine taktile Kunst? Hand, Auge und Mund in den Dirigierlehren von Hermann Scherchen und Pierre Boulez 91 Body Discourses and Sociological Perspectives Martin Winter: Musik als Technologie der Körper. Eine Skizze der Ko-Produktionen von Klang, Körper und Subjekt 115 Max Ischebeck: Der musikalische Körper als Wunschmaschine: Wilhelm Heinrich Wackenroder und die Bedeutung des Leibes für die gesellschafliche Wirksamkeit der Musik 133 Ina Knoth: Körpervorstellung und Musikwahrnehmung englischer Virtuosi um 1700 155 Musical Composition – Body Images – Musical Instruments Alastair White: Material Music: Reclaiming Freedom in Spatialised Time 175 Tobias Knickmann: As if “moving a mountain” – Te Auditive, Visual and Semantic Potential of Performing Chaya Czernowin’s String Quartet and Te last leaf 195 Performance – Body – Perception Madeleine Le Bouteiller: The Body as a Musical Instrument: Reconsidering Performances with Biosignals 215 Sylvain Brétéché: ‘Body Ways’: The Extra-ordinary Music of the Deaf 229 Jasna Jovicevic: Mapping the Performative Body in the Practice of Jazz Improvisation 255 Werner Jauk: Sound-gesture und ihre Mediatisierungen – musikalische als symbolische Formen von embodied cognitions aus der Natur sonisch performativen Erlebens 273 Appendix Conference programme 295 Authors 299

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If from God’s perspective ‘all the world’s a stage’, theology invites one to think and act according to the view afforded from this height. To speak theologically of a ‘world stage’ as many contemporary theologians have done has required rethinking the Church’s long-established antagonism towards the stage. Of late, theology has opened up academic exchange with the drama’s understanding of ‘the great theatre of the world’. Hans Urs von Balthasar’s theo-drama in particular has given Christians a means for entering into discussion with dramatic forms. Contemporary theological engagements with ‘drama’, however, have been limited to its most literary/metaphorical aspects; less attention has been paid to the potentialities in theology’s exchange with the performance aesthetics of live theatre. Pressed to its logical ends, however, von Balthasar’s idea of a ‘theological dramatics’ and its advances made in contemporary theology, suggest the need for sustained engagement with other modes of dramaturgy, including performance theory and the stage. This thesis attempts to instantiate this theological engagement through the aesthetics of theatrical performance.