ABSTRACT This article explores how affect and music connect through bodily engagement and what happens when such connections are altered by the permanent rupture of a life cut short. Through auto-ethnographic explorations of one experience of musical(ised) grief, I analyse how I learned to perform music with Matt Tracy (1972–2000), singer and guitarist of two of my college-era bands, and the ways that making music more than two decades later continues to connect me to our shared, affective practice. I argue that, in learning to create music with another, we adopt a variety of bodily movements that become sedimented through habituation, connecting our bodies (through processes of intercorporeality) to the bodies of our musical collaborators. Such connections linger, even after death, and I thereby theorise how musical ways of being in the world offer specifically musical ways of grieving and remembrance.

中文翻译：

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半条命：对音乐、悲伤和情感的反思

摘要 本文探讨了情感和音乐如何通过身体接触联系起来，以及当这种联系因生命的永久破裂而改变时会发生什么。通过对一种音乐（化）悲伤经历的自动人种学探索，我分析了我如何与马特·特雷西（Matt Tracy，1972-2000）一起学习演奏音乐，他是我大学时代的两个乐队的歌手和吉他手，以及制作音乐的方式二十多年后，我继续将我与我们共同的情感实践联系起来。我认为，在学习与他人创作音乐的过程中，我们采用了各种通过习惯而沉淀下来的身体运动，将我们的身体（通过肉体过程）与音乐合作者的身体联系起来。即使在死后，这种联系仍然存在，