In recent decades, musicologists in general (and opera scholars in particular) have made numerous productive forays into music’s entanglements with ballet, dance and gesture. This has been, in part, an offshoot of a broader disciplinary move towards acknowledging the body – once just another skeleton in the musicological closet – and thus towards addressing the physical, perhaps even carnal, elements of musical performance; the somatic aspects of the listening experience; and the crucially embodied nature of scholarly endeavour itself. Out with what Suzanne Cusick once diagnosed as ‘musicology’s mind/body problem’ (as one article title recently decreed, ‘Down With Disembodiment’). In with scrutiny of the expressive performing body, an ‘erupting’ body – to borrow J.Q. Davies’s memorable description of Paganini – whose unstable, sometimes disruptive presence might itself provoke us to reconstitute musicological research. Yet moving, feeling bodies are not solely an object of study for a new, newer, newest musicology in thrall to disenchantment; or for researchers excavating the axiomatically buried materiality of ‘the music itself ’ and ‘the canon’. For one thing, and to come closer to home, the history of opera has always been closely entwined

中文翻译：

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身体机能

在最近的几十年中，音乐学家（尤其是歌剧学者）总体上对芭蕾舞，舞蹈和手势对音乐的纠缠进行了许多富有成效的尝试。这在某种程度上是更广泛的学科行动的分支，旨在承认身体-曾经只是音乐学壁橱中的另一个骨架-从而致力于解决音乐演奏中的物理甚至肉体元素。聆听体验的躯体方面；以及学术努力本身具有至关重要的体现性。苏珊娜·库西克（Suzanne Cusick）曾经被诊断为“音乐学的心身问题”（最近一篇文章标题是“精神病患者”）。在对表现力表演主体进行仔细检查的过程中，“爆发”的主体-借用了JQ Davies对Paganini的令人难忘的描述-其不稳定，有时破坏性的存在本身可能会激发我们重新构建音乐学研究。然而，动人的，感觉到的身体并不仅是研究的对象，而是一种新的，更新的，最新的音乐学，以至于令人着迷。或为研究人员挖掘“音乐本身”和“佳能”的公理化的实质性。一方面，为了更接近家乡，歌剧的历史始终紧密地交织在一起