Embodiedexperience and sensorial understandings in Western musicThe Western history of aesthetics is characterised by tension between theoryand practice. Musicians listen, play, and then listen more profoundly in order toplay differently, adapt the body, and sense the environment. They become deeplyinvolved in the sensorial qualities of music practice. Artistic practice refersto the original meaning of aesthetics-the senses. Whereas Baumgarten and Goetheexplored the relationship between sensibility and reason, sensation andthinking, later philosophers of aesthetics deemed the sensorial to be confusedand unreliable and instead prioritised a cognitive or objective approach.Written by authors from the fields of philosophy,composition, performance, and artistic practice, Sensorial Aesthetics in Music Practices repositions aesthetics as adomain of the sensible and explores the interaction between artists, life, andenvironment. Aesthetics becomes a field of sensorial and embodied experienceinvolving temporal and spatial influences, implicit knowledge, and humancharacteristics.Contributors: Kathleen Coessens(Koninklijk Conservatorium Brussel, Orpheus Institute), Tim Ingold (University ofAberdeen), Michal Levinas (Conservatoire National Suprieur de Musique deParis), Fabien Lvy (Hochschule fr Musik Detmold), Lasse Thoresen (NorwegianAcademy of Music), Vanessa Tomlinson (Queensland Conservatorium of Music),Salom Voegelin (University of the Arts London)This publication is GPRC-labeled (GuaranteedPeer-Reviewed Content).

Embodiedexperience and sensorial understandings in Western musicThe Western history of aesthetics is characterised by tension between theoryand practice. Musicians listen, play, and then listen more profoundly in order toplay differently, adapt the body, and sense the environment. They become deeplyinvolved in the sensorial qualities of music practice. Artistic practice refersto the original meaning of aesthetics-the senses. Whereas Baumgarten and Goetheexplored the relationship between sensibility and reason, sensation andthinking, later philosophers of aesthetics deemed the sensorial to be confusedand unreliable and instead prioritised a cognitive or objective approach.Written by authors from the fields of philosophy,composition, performance, and artistic practice, Sensorial Aesthetics in Music Practices repositions aesthetics as adomain of the sensible and explores the interaction between artists, life, andenvironment. Aesthetics becomes a field of sensorial and embodied experienceinvolving temporal and spatial influences, implicit knowledge, and humancharacteristics.Contributors: Kathleen Coessens(Koninklijk Conservatorium Brussel, Orpheus Institute), Tim Ingold (University ofAberdeen), Michal Levinas (Conservatoire National Suprieur de Musique deParis), Fabien Lvy (Hochschule fr Musik Detmold), Lasse Thoresen (NorwegianAcademy of Music), Vanessa Tomlinson (Queensland Conservatorium of Music),Salom Voegelin (University of the Arts London)This publication is GPRC-labeled (GuaranteedPeer-Reviewed Content).