Abstract

This essay considers the work of Jean-Luc Nancy on touch as a model for a conception of the musical body. More than a re-emphasizing of the tactile, though, it is possible to show that Nancy’s work enables an understanding of music as touch. The significance of this re-thinking lies in the counterweight it provides to the degradation of music entailed in its digitalized de-materialization. Hegel is seen to be complicit in this degradation.