Music is not just a creation of mind or hand, or something only for the ears, contrary to what many have thought and imagined. All who partake in music are doing so within socially constructed situations expectations, and are embodied through it in many different ways. How do these situations work? How precisely are they constructed? Is constructivism a presumption to challenge? Can music disembody, re-embody, re-body? How might music produce raced, gendered and/or queer bodies? What are the listening situations of the 21st century? Where are they? Who is in them and how did they get there? How does this differ from the musicked bodies of earlier history, between traditions? What does a performing or listening body do? Can we not listen (or not hear) when in contact with music? Can the body understand music, or would it want to? Can we (as theorists did for some time) talk of `theż body? Of listening as something shared, or performing as something translatable (for example)?
This seminar seeks to address these and other questions from across the range of theoretical perspectives, musical genres, musicological approaches, but we expect a predominance of approaches and practices inflected by 20th and 21st century philosophies and critical theories.