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.

中文翻译：

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触摸小提琴

本文将让-吕克·南希 (Jean-Luc Nancy) 的触摸作品视为音乐体概念的典范。然而，这不仅仅是对触觉的重新强调，还可以表明南希的作品能够将音乐理解为触觉。这种重新思考的意义在于它为音乐的数字化去物质化所带来的退化提供了平衡。黑格尔被认为是这种堕落的同谋。