Current research in music scholarship appears to be trending towards the “embodied” yet from the vantage point of the performer this progression seems to be lacking a key component of such an embodied discourse: their voice. In this thesis I argue that the oversight of the performing body and its importance to the field of musicology is a result of conceptual dualities that attempt to conceal the body in its role within thought, culture, and meaning. Illustrating this oversight with the gaps in the current academic discourse, I show how many in the field either consider the body only in a metaphorical sense, or see the performer as an object of study. An examination of the contributions of three performer-scholars to this field demonstrates ways in which the gap can be filled, and lack addressed. Their approaches are then combined in an embodied analysis of Messiaen’s “Abîme des Oiseaux” from Quatour pour la Fin du Temps which reveals the potentialities of depth and breadth that can be considered when the performer’s body is permitted to be a site from which a musical analysis might originate. This thesis concludes that the performing body must be reintroduced into musicological discourse with a new understanding of its value, and that this can best be accomplished by addressing the “embodied” within the academic music curriculum, alongside traditional tonal and formal analyses.

For decades, the application of technology to percussion curricula has been substantially hindered by the limitations of conventional input devices. With the need for specialized percussion instruction at an all-time high, investigation of this domain can open the doors to an entirely new educational approach for percussion. This research frames the foundation of an embodied approach to percussion instruction manifested in a system called Percussive. Through the use of body-scale interactions, percussion students can connect with pedagogical tools at the most fundamental level−leveraging muscle memory, kinesthetics, and embodiment to present engaging and dynamic instructional sessions. The major contribution of this work is the exploration of how a system which uses motion-sensing to replicate the experiential qualities of drumming can be applied to existing pedagogues. Techniques for building a system which recognizes drumming input are discussed, as well as the system's application to a successful contemporary instructional model. In addition to the specific results that are presented, it is felt that the collective wisdom provided by the discussion of the methodology throughout this thesis provides valuable insight for others in the same area of research. / Master of Science

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This practice-led research employs choreographic and somatic practices, and their mediation through performance and/or technologies, to facilitate critical engagement and apprehension of notions of embodiment. The core concerns are movement, dance and the body, as sites of knowledge and as modes of inquiry, with particular focus on lived experience approached from a nondualist perspective. Central themes are action, attention, bodyscape, tensegrity, improvisation, interactivity, memory, language and gesture. Taking as a starting point the position that knowledge and mind may be embodied, and that the movement habits and stress markers which pattern bodyscape may in turn inform cognition, the choreographic practice seeks to illuminate, rather than explicate or demonstrate, aspects of embodiment. The methodological approaches are (en)active, heuristic and reflective. Dance, as a exemplar of movement, and choreography, as a mode of creative and critical engagement with dance, are the primary research tools. Somatic approaches to practice, performance and philosophy are investigated for their potential to develop or reveal embodied knowing and awareness. Technological mediation is employed to inform and augment perception and apprehension of the embodied experience of dance, from the perspectives of choreographer, performer and audience. The thesis comprises five dance-based performance works and a written text critically engaging the concepts behind and emergent from this praxis.

It is the aim of this practice-led PhD to explore the processes that attend to the production of a linocut relief print through a framework whose key concepts are liminality and embodiment. In this pursuit the thesis investigates the subjects of skin and surface as well as cuts and cutting through themes and issues of touch and time that include connection and continuity, 'direct' creative touch, artist-tool/technology relations, memory, repetition and rhythmicity, transmissions of time, translation, tracking, chronology and equivalence. These subjects and themes' liminal qualities and characteristics are mirrored by a methodology devised and employed throughout the research. This methodology employs the interpenetrative, interconnected, reflexive and autoethnographic methods of a durational, physically challenging repeat printmaking project, longhand letter writing, and the multiple-register writing of this thesis. It does so in a purposely oblique and 'wayfaring' (Tim Ingold, 2011) approach. Binaries and boundaries are thus explored without risking their further enforcement, allowing diverse aspects and subjects to flow into and between one another with the freedom to contrast, contradict, and manifest inconsistently whilst ultimately moving towards a more comprehensive understanding of the thesis' subjects. This liminal methodology contributes a set of research tools and framework propositions to the existing field of research in and of creative practice, including printmaking, and its embodiment.

Onkologische Patienten mit Läsionen an der Zunge zeigen bei einem Mere-Exposure-Versuch mit verbalen Stimuli einen stabilen Mere-Exposure-Effekt. Dies hibt Hinweise daruaf, dass stimulusspezifische-sensomotorische Simulationen im wesentlichen unabhängig von der körperlichen Peripherie sind und sich vor allem in zentralen Strukturen abspielen (Gehirn). / In a Mere Exposure experiment where oncolgic patients with tounge lesions were exposed to verbal stimuli, a stable Mere Exposure Effect was observed. This finding presents evidence that stimulus-specific sensomotoric simulations are independent of the physical periphery and rather take place in central structures (brain).

The experience of one’s self as ‘living in and through the body’ has been coined embodiment. The interactions between felt inner states and interactions with one’s environment mutually construct the level and quality of this experience. Embodiment relies on a sense of safety and ownership over one’s body territory. Existing research cites the emotional, psychological,physical, and interpersonal effects of violence against women, yet the underlying disruption to body ownership that follows such violation has largely remained unidentified. Using the framework offered by the groundbreaking Developmental Theory of Embodiment, this study examines the effects of a broader spectrum of violation to body ownership than what has been examined to date. Three interviews of each of seven women, over a period of two years, provide insights into experiences of living in and with the female body as this relates to various forms of trauma.

The experience of one’s self as ‘living in and through the body’ has been coined embodiment. The interactions between felt inner states and interactions with one’s environment mutually construct the level and quality of this experience. Embodiment relies on a sense of safety and ownership over one’s body territory. Existing research cites the emotional, psychological,physical, and interpersonal effects of violence against women, yet the underlying disruption to body ownership that follows such violation has largely remained unidentified. Using the framework offered by the groundbreaking Developmental Theory of Embodiment, this study examines the effects of a broader spectrum of violation to body ownership than what has been examined to date. Three interviews of each of seven women, over a period of two years, provide insights into experiences of living in and with the female body as this relates to various forms of trauma.

ABSTRACT In this thesis, it is argued that the performance of three plays written by Daniel David Moses: Brébeuf's Ghost, The Indian Medicine Shows and Almighty Voice and his Wife function as healing ceremonies. This healing - so necessary after the cultural genocide wrought upon First Nations peoples by the Canadian government's attempts to legislate and educate them out of existence - is brought about through Moses' examination of the dichotic underpinnings of euro-western notions of absence and presence and how this dichotomy leads to conflict between the euro-western concept of disease as a purely physical phenomena and the indigenous view of disease as being the physical manifestation of spiritual imbalance, of not living in accord with the land. The link Heidegger makes between absence and the essence of things - an example of this being his assertion that the essence of a wine jug "does not lie at all in the material of which it consists, but in the void that holds" ("The Thing" 169) - is representative of the viewpoint of the euro-western characters of the play, most of whom base their understanding of the world and the things in it on their perception of voids. For both euro-western and native characters in these plays, physical and psychological disease is linked to the idea of absence. Disease, as a social construct, is argued as a manifestation of the physical and spiritual voids created by a preoccupation with absence. The euro-western relationship to 'things' and commodities to fill the absence of 'self' is. I argue that the performance of the text is a type of ceremony designed to physically manifest the spiritual, akin to such rituals as the Hopi katina ceremony and the Navajo red ant ceremony, whose aims are to restore the wellness of an individual and, thus, the group. It is the performance of absence which is the key to understanding the works' healing value.

ABSTRACT In this thesis, it is argued that the performance of three plays written by Daniel David Moses: Brébeuf's Ghost, The Indian Medicine Shows and Almighty Voice and his Wife function as healing ceremonies. This healing - so necessary after the cultural genocide wrought upon First Nations peoples by the Canadian government's attempts to legislate and educate them out of existence - is brought about through Moses' examination of the dichotic underpinnings of euro-western notions of absence and presence and how this dichotomy leads to conflict between the euro-western concept of disease as a purely physical phenomena and the indigenous view of disease as being the physical manifestation of spiritual imbalance, of not living in accord with the land. The link Heidegger makes between absence and the essence of things - an example of this being his assertion that the essence of a wine jug "does not lie at all in the material of which it consists, but in the void that holds" ("The Thing" 169) - is representative of the viewpoint of the euro-western characters of the play, most of whom base their understanding of the world and the things in it on their perception of voids. For both euro-western and native characters in these plays, physical and psychological disease is linked to the idea of absence. Disease, as a social construct, is argued as a manifestation of the physical and spiritual voids created by a preoccupation with absence. The euro-western relationship to 'things' and commodities to fill the absence of 'self' is. I argue that the performance of the text is a type of ceremony designed to physically manifest the spiritual, akin to such rituals as the Hopi katina ceremony and the Navajo red ant ceremony, whose aims are to restore the wellness of an individual and, thus, the group. It is the performance of absence which is the key to understanding the works' healing value.