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What is initially striking about Alfred Schutz’s phenomenological account of the musical experience, which encompasses both the performance and reception of music, is his apparent dismissal of the corporeal and spatial aspects of that experience. The paper argues that this is largely a product of his wider understanding of temporality wherein the mind and time are privileged over the body and space,...
A feminist phenomenological analysis of voice, rooted in both the feminist understanding of the role of voice in identity, agency, and the creation of meaning, and the phenomenological thematization and theorization of phenomenal, lived experience, leads to a deeper understanding of the importance of the materiality of the voices with which we speak, and their role in both subjective and intersubjective...
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