The Phenomenology of the Pipe Organ
An extended illustration from Merleau-Ponty’s Phenomenology of Perception describes the interplay of habit, sedimentation, and intersubjectivity in the practice and performance of a skilled organist. This paper takes up Merleau-Ponty’s example in order to describe some of the phenomenological characteristics of embodied musical performance. These characteristics point toward an intersubjective event of “consecration,” as Merleau-Ponty describes it, in which the musician adopts the role of rhetor, inviting the audience into a shared dwelling place.
1994 ◽
Vol 52
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pp. 940-941
2017 ◽
Vol 16
(2)
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pp. 61-76
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2018 ◽
Vol 12
(2)
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pp. 60-63