LEADER 03403nam 2200625 a 450 001 9910809285803321 005 20200520144314.0 010 $a0-231-52720-9 024 7 $a10.7312/noud15394 035 $a(CKB)2550000000102791 035 $a(EBL)908892 035 $a(OCoLC)818856416 035 $a(SSID)ssj0000692258 035 $a(PQKBManifestationID)11431962 035 $a(PQKBTitleCode)TC0000692258 035 $a(PQKBWorkID)10653708 035 $a(PQKB)10642754 035 $a(StDuBDS)EDZ0000455051 035 $a(DE-B1597)459174 035 $a(OCoLC)794494009 035 $a(OCoLC)979739703 035 $a(DE-B1597)9780231527200 035 $a(Au-PeEL)EBL908892 035 $a(CaPaEBR)ebr10556584 035 $a(MiAaPQ)EBC908892 035 $a(EXLCZ)992550000000102791 100 $a20110816d2012 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 14$aThe philosopher's touch $eSartre, Nietzsche, and Barthes at the piano /$fFranc?ois Noudelmann ; translated by Brian J. Reilly 210 $aNew York $cColumbia University Press$dc2012 215 $a1 online resource (177 p.) 225 1 $aEuropean perspectives : a series in social thought and cultural criticism 300 $aCopyright Editions Gallimard, Paris, 2008. 311 $a0-231-15394-5 320 $aIncludes bibliographical references and index. 327 $aIntuition -- The off-beat piano -- Why I am a great pianist -- The piano touches me -- Resonances. 330 $aRenowned philosopher and prominent French critic François Noudelmann engages the musicality of Jean-Paul Sartre, Friedrich Nietzsche, and Roland Barthes, all of whom were amateur piano players and acute lovers of the medium. Though piano playing was a crucial art for these thinkers, their musings on the subject are largely scant, implicit, or discordant with each philosopher's oeuvre. Noudelmann both recovers and integrates these perspectives, showing that the manner in which these philosophers played, the composers they adored, and the music they chose reveals uncommon insight into their thinking styles and patterns.Noudelmann positions the physical and theoretical practice of music as a dimension underpinning and resonating with Sartre's, Nietzsche's, and Barthes's unique philosophical outlook. By reading their thought against their music, he introduces new critical formulations and reorients their trajectories, adding invaluable richness to these philosophers' lived and embodied experiences. The result heightens the multiple registers of being and the relationship between philosophy and the senses that informed so much of their work. A careful reader of music, Noudelmann maintains an elegant command of the texts under his gaze and appreciates the discursive points of musical and philosophical scholarship they involve, especially with regard to recent research and cutting-edge critique. 410 0$aEuropean perspectives. 606 $aMusic and philosophy 615 0$aMusic and philosophy. 676 $a780/.01 686 $a9,2$2ssgn 700 $aNoudelmann$b Franc?ois$0612393 701 $aReilly$b Brian J$01630714 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910809285803321 996 $aThe philosopher's touch$93969166 997 $aUNINA