The music of Argentinian composer Santiago Diez-Fischer places particular emphasis on the sense of touch. The sonic textures and the notations the composer use illustrate this. In several pieces, his writing indicates surfaces to rub, caress, and press. The resulting sound is complex, often on the edge of noise. In this article, I argue that the notion of presentational symbol as proposed by Susanne Langer serves to clarify how such music is an expression of tactile experience. I show how this notion relates to all music in general, and precisely because music is such a symbol that it can be understood and interpreted in its meaning through listening. I make the assumption that all music is presentational; however, such generality must be overcome by a more important requirement. Once we know that music is a presentational symbol, what does it symbolize? I think music symbolizes different things every time and it is possible to understand this, as long as you listen and bring your own experience into play. Here, I have tried to do this by referring to the work of Santiago Diez-Fischer. I argue then that the emotion of touch is then communicated as a specific and unique musical form. In this sense, Diez-Fischer’s music is paradigmatic.

中文翻译：

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触手可及，触手可及。Santiago Diez-Fischer 音乐中的触觉体验作为展示符号

阿根廷作曲家 Santiago Diez-Fischer 的音乐特别强调触觉。作曲家使用的声音纹理和符号说明了这一点。在几篇文章中，他的文字表明要摩擦、爱抚和按压的表面。由此产生的声音很复杂，通常处于噪音的边缘。在本文中，我认为 Susanne Langer 提出的表现性符号的概念有助于阐明这种音乐是如何表达触觉体验的。我展示了这个概念如何与一般的所有音乐相关，正是因为音乐是一种象征，可以通过聆听来理解和解释它的含义。我假设所有的音乐都是表现性的；然而，必须通过一个更重要的要求来克服这种普遍性。一旦我们知道音乐是一种表象符号，它象征什么？我认为音乐每次都象征着不同的东西，只要你倾听并发挥你自己的经验，就可以理解这一点。在这里，我试图通过参考 Santiago Diez-Fischer 的工作来做到这一点。然后我认为，触摸的情感然后作为一种特定而独特的音乐形式进行交流。从这个意义上说，Diez-Fischer 的音乐是典型的。