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 char...
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Format: | Article |
Language: | English |
Published: |
University of Alberta
2020-12-01
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Series: | Phenomenology & Practice |
Online Access: | https://journals.library.ualberta.ca/pandpr/index.php/pandpr/article/view/29432 |
Summary: | 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.
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ISSN: | 1913-4711 |