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Music of Its Own Accord

Music of Its Own Accord The disembodied hands of spiritualist sittings touched people and levitated objects but also strummed guitars, rang bells, played closed pianos and accordions in cages. Likewise, the mechanical music machines of the time (orchestrions, pianolas, etc.) seemed animated by invisible fingers. Highlighting the historical and haptic parallels between these manifestations, the author addresses the lack of a visible performing body, which remains implicit through the invisible animating agency. She looks at the moment before music became abstracted into the grooves of the gramophone, when music still looked like instruments, though without the gestural presence of the performer. The article is illustrated with images from the author's project Automamusic. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Leonardo Music Journal MIT Press

Music of Its Own Accord

Leonardo Music Journal , Volume December 2010 (20) – Dec 1, 2010

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Publisher
MIT Press
Copyright
© 2010 ISAST
Subject
Articles
ISSN
0961-1215
eISSN
1531-4812
DOI
10.1162/LMJ_a_00015
Publisher site
See Article on Publisher Site

Abstract

The disembodied hands of spiritualist sittings touched people and levitated objects but also strummed guitars, rang bells, played closed pianos and accordions in cages. Likewise, the mechanical music machines of the time (orchestrions, pianolas, etc.) seemed animated by invisible fingers. Highlighting the historical and haptic parallels between these manifestations, the author addresses the lack of a visible performing body, which remains implicit through the invisible animating agency. She looks at the moment before music became abstracted into the grooves of the gramophone, when music still looked like instruments, though without the gestural presence of the performer. The article is illustrated with images from the author's project Automamusic.

Journal

Leonardo Music JournalMIT Press

Published: Dec 1, 2010

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