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Performative passivity: Lessons on phenomenology and the extended musical mind with the Danish String Quartet

Simon Høffding

Music and Consciousness 2 April 11, 2019 DOI: 10.1093/oso/9780198804352.003.0008 (opens in new tab)

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AI-extracted from the abstract
Characteristics Theoretical or philosophical paper Peer reviewed
Topics Philosophy of mind
Key points Argues that philosophical literature construes musical absorption too narrowly through reflective and pre-reflective self-awareness, and proposes 'performative passivity,' grounded in Husserl's notion of passivity, to capture experiences like 'It wasn't I who played the music,' with the body, emotions, and the music itself centrally involved.

Abstract

Abstract: Based on interviews with the Danish String Quartet, this chapter points to limitations in the philosophical literature that construes musical absorption primarily as involving various forms of reflective and pre-reflective self-awareness. It then shows the paradigmatic experience of musical absorption as being expressed in statements such as ‘It wasn’t I who played the music’ or ‘The music played/came by itself’. To understand this type of experience, the chapter presents a new framework of ‘performative passivity’, relying on an analysis of the Husserlian notion of passivity or passive synthesis. Finally, it shows how the body, the performer’s emotions, and the nature of the performed music are centrally involved in performative passivity.

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