The Body of Music examines in what sense we can and must ascribe some sort of a body to music, which has traditionally been considered the most ideal and metaphysical of arts, and it seeks to analyze different aspects of corporeality in music. Its aim is to show that the body of music cannot be reduced to mere physical vibrations or simply to the condition sine qua non of musical experience. The body is always somehow active in music, it co-creates it, inspires it, it forms its significance or signifiance. Simultaneously it is itself transformed by music, it is played out in and through music. First, the body becomes apparent when we look at music as a process and activity rather than as a product. The body of a musician is that of a perpetual learner, it transforms itself, it is forced to think by itself and while "performing" music it has to breathe life into it, actualize it. Second, confronted with the process of learning and a musical instrument we come across the body of sound: something like the obstinacy of the material, irreducible to the intelligible strata of the musical sound. Sound is a complex phenomenon, whose material layer is itself productive of meaning. Third, there is the body of the listener, which is similar to that of the musician in that it too has to "perform", compose the music....
| Identifer | oai:union.ndltd.org:nusl.cz/oai:invenio.nusl.cz:307940 |
| Date | January 2012 |
| Creators | Galuška, Ondřej |
| Contributors | Petříček, Miroslav, Karfíková, Lenka, Kolman, Vojtěch |
| Source Sets | Czech ETDs |
| Language | Czech |
| Detected Language | English |
| Type | info:eu-repo/semantics/doctoralThesis |
| Rights | info:eu-repo/semantics/restrictedAccess |
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