Simon Høffding is a postdoctoral researcher at the Department of Musicology, University of Oslo, Norway. He obtained his PhD in 2015 at the Centre for Subjectivity Research, University of Copenhagen, Denmark, and has since held positions at the Interactive Minds Centre, University of Aarhus, and at the Department of Psychology, University of Copenhagen. His interests span phenomenology, philosophy of mind, enactivism, music, self-awareness, bodily awareness, expertise, aesthetics and cross-disciplinary methodologies. His work has been published in Phenomenology and the Cognitive Sciences, Journal of Consciousness Studies, Musicae Scientiae and Topoi as well as in The Oxford Handbook of Western Music and Philosophy.

• Chapter 1. Introduction.- Part I: Meeting the Danish String Quartet.- Chapter 2. How Should We Study Musical Absorption? The Phenomenological Interview.- Chapter 3. From Ragdoll to Battle Commander: The Experience of Musical Absorption.- Chapter 4. A Topography of Muscial Absorption.- Part II: Comparative Perspectives.- Chapter 5. Expertise, Mind Wandering, and Amnesia.- Chapter 6. Artistic and Aesthetic Experience.- Chapter 7. Flow.- Chapter 8. Dreaming and Sleeping.- Chapter 9. Schizophrenia and Ipseity Disturbances.- Part III. Phenomenological Underpinnings of the Musically Extended Mind.- Chapter 10. Performative Passivity.- Chapter 11. The Hive Mind: Playing Together.- Chapter 12.Conclusions.

Simon Høffding is a postdoctoral researcher at the Department of Musicology, University of Oslo, Norway. He obtained his PhD in 2015 at the Centre for Subjectivity Research, University of Copenhagen, Denmark, and has since held positions at the Interactive Minds Centre, University of Aarhus, and at the Department of Psychology, University of Copenhagen. His interests span phenomenology, philosophy of mind, enactivism, music, self-awareness, bodily awareness, expertise, aesthetics and cross-disciplinary methodologies. His work has been published in Phenomenology and the Cognitive Sciences, Journal of Consciousness Studies, Musicae Scientiae and Topoi as well as in The Oxford Handbook of Western Music and Philosophy.

• Chapter 1. Introduction.- Part I: Meeting the Danish String Quartet.- Chapter 2. How Should We Study Musical Absorption? The Phenomenological Interview.- Chapter 3. From Ragdoll to Battle Commander: The Experience of Musical Absorption.- Chapter 4. A Topography of Muscial Absorption.- Part II: Comparative Perspectives.- Chapter 5. Expertise, Mind Wandering, and Amnesia.- Chapter 6. Artistic and Aesthetic Experience.- Chapter 7. Flow.- Chapter 8. Dreaming and Sleeping.- Chapter 9. Schizophrenia and Ipseity Disturbances.- Part III. Phenomenological Underpinnings of the Musically Extended Mind.- Chapter 10. Performative Passivity.- Chapter 11. The Hive Mind: Playing Together.- Chapter 12.Conclusions.

Simon Høffding is a postdoctoral researcher at the Department of Musicology, University of Oslo, Norway. He obtained his PhD in 2015 at the Centre for Subjectivity Research, University of Copenhagen, Denmark, and has since held positions at the Interactive Minds Centre, University of Aarhus, and at the Department of Psychology, University of Copenhagen. His interests span phenomenology, philosophy of mind, enactivism, music, self-awareness, bodily awareness, expertise, aesthetics and cross-disciplinary methodologies. His work has been published in Phenomenology and the Cognitive Sciences, Journal of Consciousness Studies, Musicae Scientiae and Topoi as well as in The Oxford Handbook of Western Music and Philosophy.

• Chapter 1. Introduction.- Part I: Meeting the Danish String Quartet.- Chapter 2. How Should We Study Musical Absorption? The Phenomenological Interview.- Chapter 3. From Ragdoll to Battle Commander: The Experience of Musical Absorption.- Chapter 4. A Topography of Muscial Absorption.- Part II: Comparative Perspectives.- Chapter 5. Expertise, Mind Wandering, and Amnesia.- Chapter 6. Artistic and Aesthetic Experience.- Chapter 7. Flow.- Chapter 8. Dreaming and Sleeping.- Chapter 9. Schizophrenia and Ipseity Disturbances.- Part III. Phenomenological Underpinnings of the Musically Extended Mind.- Chapter 10. Performative Passivity.- Chapter 11. The Hive Mind: Playing Together.- Chapter 12.Conclusions.