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/lp/springer-journals/a-phenomenology-of-musical-absorption-a-topography-of-musical-w1peqpeN0b
- Publisher
- Springer International Publishing
- Copyright
- © The Editor(s) (if applicable) and The Author(s) 2018
- ISBN
- 978-3-030-00658-7
- Pages
- 73 –87
- DOI
- 10.1007/978-3-030-00659-4_4
- Publisher site
- See Chapter on Publisher Site
Abstract
[This chapter produces distinctions in the form of a topography of musical absorptionMusical absorptiontopography of that give a conceptual grasp of the various kind of experiences described in the last chapter. The DSQ members differ in their perception of how to focus (or not focus) while playing, how to practice, and the significance of immersion and concentration to the overall effort. In other words, they have little consensus on even some of the most rudimentary aspects of music and musicianship. The following analysis, however, reveals certain general patterns in the musical mind. I represent these in the topography, which consists of the following categories: standard absorptionMusical absorptionstandard absorption, mind wandering not-being-thereMusical absorptionmind wandering not-being-there, frustrated playingMusical absorptionfrustrated playing, absorbed not-being-thereMusical absorptionabsorbed not-being there, and ex-static absorptionMusical absorptionex-static absorption.]
Published: Jan 22, 2019