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A critical phenomenology of musicdisclosing/transposing the habitual body schema /

Record Type:	Electronic resources : Monograph/item
Title/Author:	A critical phenomenology of musicby Rachel Elliott.
Reminder of title:	disclosing/transposing the habitual body schema /
Author:	Elliott, Rachel.
Published:	Cham :Springer Nature Switzerland :2025.
Description:	x, 248 p. :ill., digital ;24 cm.
Contained By:	Springer Nature eBook
Subject:	MusicPhilosophy and aesthetics.
Online resource:	https://doi.org/10.1007/978-3-031-92111-7
ISBN:	9783031921117$q(electronic bk.)

A critical phenomenology of musicdisclosing/transposing the habitual body schema /
Elliott, Rachel.

A critical phenomenology of musicdisclosing/transposing the habitual body schema /[electronic resource] :by Rachel Elliott. - Cham :Springer Nature Switzerland :2025. - x, 248 p. :ill., digital ;24 cm.

Chapter 1. Introduction -- Chapter 2. Musical Epistemology -- Chapter 3. Listening (Vignette) -- Chapter 4. The Body in the Phenomenology of Perception -- Chapter 5. Singing (Vignette) -- Chapter 6. Music and the Situated Body Schema -- Chapter 7. Dancing (Vignette) -- Chpater 8. The Role of Others in Musical Experience -- Chapter 9. Per forming (Vignette) -- Chapter 10. Transforming the Habit Body Through Music -- Chapter 11. Playing (Vignette) -- Chapter 12. Conclusion.

"From a musician's perspective, Rachel Elliott provides brilliant phenomenological descriptions of the ways listening to and playing music shape the habitual body and the body schema. In so doing she shows how the interplay of bodies and worlds through musical engagement is a creative endeavor that has social and political implications." -Helen A. Fielding, Professor, Philosophy/Gender, Sexuality and Women's Studies, Western University, Canada "This fascinating book explores mysteries at the edge of consciousness and our body through a phenomenology of music. Merleau-Ponty's concept of the body schema emerges as central to music. Music in turn illuminates this vital concept. At stake are transformative possibilities for meaning making." -Cynthia Willett, Samuel Candler Dobbs Professor of Philosophy, Emory University, author of Interspecies Ethics (2014) "A Critical Phenomenology of Music makes an important contribution to the burgeoning fields of critical phenomenology and embodied music cognition. Elliott's rich analysis of often-hidden connections between music, the lived body, power, and identity develops a novel framework for understanding how musical experiences shape our bodily engagement with the world. A vital read for those interested in the transformative power of music." -Joel Krueger, Associate Professor of Philosophy, University of Exeter, UK Drawing a link between music and what Maurice Merleau-Ponty calls the habit body - a quasi-transcendental structure at the heart of our perceptual, social, and agential being - this book helps articulate why music has the power to express as well as shape our existence at a fundamental level. Using phenomenology, research in the cognitive sciences, and first-person descriptions of musical experiences, this book addresses topics such as the relationship of music to identity, the capacity of music to be personally and socially transformative, the role of music in our perception of others, the connection between music and trauma, and the possibility of engendering we-experiences through shared musical time. Rachel Elliott is a Doctoral Lecturer in Philosophy at CUNY, College of Staten Island, in New York City. This is her first book.

ISBN: 9783031921117$q(electronic bk.)

Standard No.: 10.1007/978-3-031-92111-7doiSubjects--Topical Terms:

187642
Music
--Philosophy and aesthetics.

LC Class. No.: ML3800

Dewey Class. No.: 781.17

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505 0 $a Chapter 1. Introduction -- Chapter 2. Musical Epistemology -- Chapter 3. Listening (Vignette) -- Chapter 4. The Body in the Phenomenology of Perception -- Chapter 5. Singing (Vignette) -- Chapter 6. Music and the Situated Body Schema -- Chapter 7. Dancing (Vignette) -- Chpater 8. The Role of Others in Musical Experience -- Chapter 9. Per forming (Vignette) -- Chapter 10. Transforming the Habit Body Through Music -- Chapter 11. Playing (Vignette) -- Chapter 12. Conclusion.
520 $a "From a musician's perspective, Rachel Elliott provides brilliant phenomenological descriptions of the ways listening to and playing music shape the habitual body and the body schema. In so doing she shows how the interplay of bodies and worlds through musical engagement is a creative endeavor that has social and political implications." -Helen A. Fielding, Professor, Philosophy/Gender, Sexuality and Women's Studies, Western University, Canada "This fascinating book explores mysteries at the edge of consciousness and our body through a phenomenology of music. Merleau-Ponty's concept of the body schema emerges as central to music. Music in turn illuminates this vital concept. At stake are transformative possibilities for meaning making." -Cynthia Willett, Samuel Candler Dobbs Professor of Philosophy, Emory University, author of Interspecies Ethics (2014) "A Critical Phenomenology of Music makes an important contribution to the burgeoning fields of critical phenomenology and embodied music cognition. Elliott's rich analysis of often-hidden connections between music, the lived body, power, and identity develops a novel framework for understanding how musical experiences shape our bodily engagement with the world. A vital read for those interested in the transformative power of music." -Joel Krueger, Associate Professor of Philosophy, University of Exeter, UK Drawing a link between music and what Maurice Merleau-Ponty calls the habit body - a quasi-transcendental structure at the heart of our perceptual, social, and agential being - this book helps articulate why music has the power to express as well as shape our existence at a fundamental level. Using phenomenology, research in the cognitive sciences, and first-person descriptions of musical experiences, this book addresses topics such as the relationship of music to identity, the capacity of music to be personally and socially transformative, the role of music in our perception of others, the connection between music and trauma, and the possibility of engendering we-experiences through shared musical time. Rachel Elliott is a Doctoral Lecturer in Philosophy at CUNY, College of Staten Island, in New York City. This is her first book.
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