By François Noudelmann
Renowned thinker and favorite French critic François Noudelmann engages the musicality of Jean-Paul Sartre, Friedrich Nietzsche, and Roland Barthes, all of whom have been beginner piano gamers and acute enthusiasts of the medium. notwithstanding piano enjoying used to be a very important paintings for those thinkers, their musings at the topic are principally scant, implicit, or discordant with every one philosopher's oeuvre. Noudelmann either recovers and integrates those views, displaying that the way during which those philosophers performed, the composers they loved, and the track they selected finds unusual perception into their pondering kinds and patterns.
Noudelmann positions the actual and theoretical perform of song as a size underpinning and resonating with Sartre's, Nietzsche's, and Barthes's particular philosophical outlook. by means of examining their concept opposed to their track, he introduces new severe formulations and reorients their trajectories, including precious richness to those philosophers' lived and embodied reports. the end result heightens the a number of registers of being and the connection among philosophy and the senses that knowledgeable quite a bit in their paintings. A cautious reader of track, Noudelmann keeps a chic command of the texts below his gaze and appreciates the discursive issues of musical and philosophical scholarship they contain, particularly in regards to fresh learn and state-of-the-art critique.
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Extra resources for The Philosopher's Touch: Sartre, Nietzsche, and Barthes at the Piano (European Perspectives: A Series in Social Thought and Cultural Criticism)
The physique needs to pound,” he wrote, even if the pianist delicately caresses the keys. To pound, to be pounded, to develop into annoying, to relax—pianistic pursuits are eminently sexual. Piano taking part in comes on the subject of onanism. It used to be during this means that Barthes defined the ascending excitement he felt in taking part in. He skilled a revolutionary sexual tension—at as soon as passive and active—which happened in line with his rhythms. In talking in regards to the 3rd Kreisleriana, he under pressure its pitched speed that used to be “lifted up, stretched out, erected. ” via a undeniable empathy, his writings rigidity those phrases of flow, which come to symbolize: erection, back-and-forth routine, short-term droopings via the go back of stiffness to the physique that curls into itself after which explodes. The piece enters and leaves; it provokes secretion, swallowing, or revulsion. through distinguishing the German notice Rasch from the another way identical Italian time period presto, Barthes overinterpreted this performative indication to a specific finish. He desired to notice in Rasch the sexual energy of the need that nimbly leads either pianist and listener towards an unknown, disseminated jouissance. This indication courses him, as a result of the noud15934. indb 138 10/18/11 8:03 AM T H E P I A N O TO U C H E S M E • 1 three nine musical necessities of the piece as written. however it doesn't carry out the chance of a few item that will fulﬁll his wish. Such conduction occurs “as if I had a limb swept away, torn off through the wind, whipped towards a domain of dispersion that is specific yet unknown. ” In one other textual content, Barthes defined the breathlessness, haste, nervousness, and development to orgasm provoked via a tune that penetrates one’s muscle mass and guts. we start to appreciate his impulsive funding in music—a part of him that used to be much less gentle than his championed amateurism. via his commentaries, which transcend metaphor, Barthes wrote not just a lover’s discourse, but in addition an erotics in response to his personal wish. while he promoted the pleasures of beginnings and interruptions, of the assault and the strike, of caressing and stretching out, he appropriated musical dilettantism for you to make investments it with a solitary and polymorphous sexuality. via reciprocal stimulation, the musical piece brings concerning the jouissance of the participant, who embodies it together with his personal hope. This erotics is however in contrast to a lover’s discourse, for it doesn't input right into a specific vocabulary of ﬁgures. in its place it is still indeterminate to the purpose that its topic can't discuss with it other than sporadically by using an undeﬁned pronoun: It kilos; it escapes trap. All of his commentaries at the enjoying of tune shape a metonymy of this hope that has no snapshot: Barthes saw that once he performed, “Something will get a hard-on. ” This erotics of the piano supplies voice to the musician’s physique, to his impulses and beats. It additionally indications the impotence of language to claim simply what's at play in such wish. And the following we most likely see the important stakes of Barthes’s piano enjoying, past any excitement he felt describing his musical tastes or novice actions.