The prostheses Peter Szendy explores-those peculiar artifacts known as musical instruments-are not only technical devices but also bodies that live a strange phantom life, as uncanny as a sixth finger or a third lung.The musicological impulse to inventory those bodies that produce sound is called into question here. In Szendy s hands, its respectable corpus of scholarship is read aslant, so as to tease out what it usually prefers to hide: hybrids and grafts produced by active fictions, monsters, and chimera awaiting the opportunity to be embodied. Beyond these singular bodies that music composes and disposes there lies the figure of a collective social body ready to emerge amid an innervated apparatus that operates at a distance, telepathically.Phantom Limbs touches on bodies of all shapes and sizes that haunt the edges of music s conceptualizations. Music continually reinvents such bodies and reconvenes them in new collective formations. It is their dynamics and crystallizations that Szendy auscultates on a motley corpus that includes Bach, Diderot, Berlioz, Eisenstein, Disney, and Monk.
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