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First, the body has become a topic of tremendous interest in recent years in the humanities and social sciences: the pioneering studies by Michel Foucault have made the history of the body in its relationships to power a matter of unusual urgency;1 feminist theorists such as Genevieve Lloyd, Susan Bordo, and Judith Butler have likewise focused extensively on the body in their efforts to unravel the tangled cultural associations between gender and mind/body metaphysics;2 and philosopher Mark Johnson and linguist George Lakoff posit the body as the very basis of all knowledge, thus clearly privileging the body in their resolution of the mind/body opposition.3 In my own work, I have claimed that music constitutes a cultural medium that involves not only the activities of the mind but also multifaceted aspects of embodied experience

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