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PHANTOMGLIEDER: AUF MUSIKALISCHEN KÖRPERN von Peter Szendy & Will Bishop *Neuwertig*-
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eBay-Artikelnr.:226887009657
Artikelmerkmale
- Artikelzustand
- Neuwertig
- Hinweise des Verkäufers
- ISBN-10
- 0823267067
- Publication Name
- Fordham University Press
- Type
- Paperback
- ISBN
- 9780823267064
Über dieses Produkt
Product Identifiers
Publisher
Fordham University Press
ISBN-10
0823267067
ISBN-13
9780823267064
eBay Product ID (ePID)
210824347
Product Key Features
Book Title
Phantom Limbs : on Musical Bodies
Number of Pages
208 Pages
Language
English
Publication Year
2015
Topic
Philosophy & Social Aspects, Genres & Styles / Classical, Aesthetics
Illustrator
Yes
Genre
Music, Philosophy
Format
Trade Paperback
Dimensions
Item Height
0.5 in
Item Weight
9 Oz
Item Length
8.7 in
Item Width
5.6 in
Additional Product Features
LCCN
2015-023328
Dewey Edition
23
Reviews
"A very original discussion of the production of the body through music. Szendy takes up a variety of musical practices in their fascinating and little-known history."--Susan Bernstein, Brown University "A patient meditation on the musical body. Szendy provides a stunning reading of the digital history of the finger, or 'digit.' We witness the multiplication of digits, the multiplication of hands and fingers, the regulation of bodies in the hope of having as many fingers as we need to play on the keyboard. But there is more to musical bodies; there are the virtual bodies of instruments who would play without contact of touch, repeating the motion of music that touches us through the ether, and there is the body of a conductor, who governs the body politic that is the orchestra. This is a compelling study."--Gil Anidjar, Columbia University "The first truly comprehensive critique of organology--the study of musical instruments as related to the human body. A smart, lucid and original study, translated superbly by Will Bishop."--Richard A. Rand, Professor of English Emeritus, University of Alabama, "A very original discussion of the production of the body through music. Szendy takes up a variety of musical practices in their fascinating and little-known history." -----Susan Bernstein, Brown University, "The first truly comprehensive critique of organology-the study of musical instruments as related to the human body. A smart, lucid and original study, translated superbly by Will Bishop." -- Richard A. Rand, Professor of English Emeritus, University of Alabama, Throughout the book, Szendy invite us to take literally various metaphorical descriptions of musical bodies and their effects. These playful reversals have the potential to open up bold new horizons for thinking about musical performance and musicians' bodies... One may be tempted to read Phantom Limbs for its provocative collisions and dissipating resonances alone--to marvel at at Szendy's eclectic examples and to enjoy the rhythm of his prose., Throughout the book, Szendy invite us to take literally various metaphorical descriptions of musical bodies and their effects. These playful reversals have the potential to open up bold new horizons for thinking about musical performance and musicians' bodies... One may be tempted to read Phantom Limbs for its provocative collisions and dissipating resonances alone--to marvel at at Szendy's eclectic examples and to enjoy the rhythm of his prose. ---Naomi Waltham-Smith, Los Angeles Review of Books, "A very original discussion of the production of the body through music. Szendy takes up a variety of musical practices in their fascinating and little-known history." --Susan Bernstein, Brown University, "A very original discussion of the production of the body through music. Szendy takes up a variety of musical practices in their fascinating and little-known history."--Susan Bernstein, Brown University "A patient meditation on the musical body. Szendy provides a stunning reading of the digital history of the finger, or 'digit.' We witness the multiplication of digits, the multiplication of hands and fingers, the regulation of bodies in the hope of having as many fingers as we need to play on the keyboard. But there is more to musical bodies; there are the virtual bodies of instruments who would play without contact of touch, repeating the motion of music that touches us through the ether, and there is the body of a conductor, who governs the body politic that is the orchestra. This is a compelling study."--Gil Anidjar, Columbia University, The first truly comprehensive critique of organology--the study of musical instruments as related to the human body. A smart, lucid and original study, translated superbly by Will Bishop. -----Richard A. Rand, Professor of English Emeritus, University of Alabama, A patient meditation on the musical body. Szendy provides a stunning reading ofthe digital history of the finger, or 'digit.' We witness the multiplication of digits, the multiplication of hands and fingers, the regulation of bodies in the hope of having as many fingers as we need to play on the keyboard. But there is more to musical bodies; there are the virtual bodies of instruments who would play without contact of touch, repeating the motion of music that touches us through the ether, and there is the body of a conductor, who governs the body politic that is the orchestra. This is a compelling study., "A patient meditation on the musical body. Szendy provides a stunning reading of the digital history of the finger, or 'digit.' We witness the multiplication of digits, the multiplication of hands and fingers, the regulation of bodies in the hope of having as many fingers as we need to play on the keyboard. But there is more to musical bodies; there are the virtual bodies of instruments who would play without contact of touch, repeating the motion of music that touches us through the ether, and there is the body of a conductor, who governs the body politic that is the orchestra. This is a compelling study." -----Gil Anidjar, Columbia University
Dewey Decimal
781.1
Table Of Content
Introduction 1. Interpreting Bodies 2. Effictions 3. Organologics (1): The Erasure of Bodies 4. Touch Ups, or the Return of Bodies 5. Idioms, Or the Dialect of Bodies 6. Monk, A Legend 7. Traces of Fingers 8. Digital Rhetoric 9. Ablations and Grafts ("Too Many Fingers") 10. Romantic Fingers ("System of Touch") 11. Feet 12. Joyful Tropiques (Evolution, Revolutions) 13. Two Dispatches (One Fictive and the Other Dreamed Up) 14. Organologics (2): Autophony 15. Genesis (1): Ocular Harpsichord, Organ of Flavors 16. Telepathy 17. Scruples (Clones and Stand-Ins) 18. Conducting (Seen From the Back) 19. Genesis (2) : Fantasia, or "Plasmaticity" 20. Touching from Afar 21. Organologics (3): Areality 22. Bodies Electric 23. Mass Formations 24. P.S. Notes
Synopsis
This book is the first truly comprehensive critique of organology (the study of musical instruments as related to the human body)., 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., 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.
LC Classification Number
ML3800.S96813 2016
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- a***2 (13)- Bewertung vom Käufer.Letzte 6 MonateBestätigter KaufItem was shipped quickly and packaged well. Item was exactly as described, brand new and it was even sealed. The seller also messaged me as soon as the purchase went through so communication was great. This was the last book in the series that I needed and to be able to find it in such great condition and at a great cost was unexpected. Highly recommend this seller and will definitely buy from again in the future.MARTIN THE WARRIOR (REDWALL) By Brian Jacques - Hardcover **BRAND NEW** (Nr. 187149385105)
- t***s (44)- Bewertung vom Käufer.Letzte 6 MonateBestätigter KaufThe Item itself I rate five stars. The seller, however, I stop at four stars. The seller met two out of three categories I look for when judging my purchasing experience: how well it was packaged, how quickly it was shipped, and how properly it was described; this seller provided prompt shipping and an accurate description, but failed when it came to packaging. The item arrived in a plastic bag without any reinforcement or protection whatsoever and suffered dinged corners on multiple fronts.