The Phenomenology of the Pipe Organ

Authors

  • Michael R. Kearney Duquesne University

DOI:

https://doi.org/10.29173/pandpr29432

Abstract

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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Published

2020-12-21

Issue

Vol. 15 No. 2 (2020): Regular Issue

Section

Articles

License

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