Abstract
Anyone who has ever played a musical instrument will certify the development of a particular type of relationship between the instrument and the performer. This relationship goes beyond a convenient coupling that is optimized for sound production. Every musical instrument defines ways in which to be touched, felt, activated. Music performance is dependent on bodily involvement that goes beyond the auditory and the sense of hearing. This article investigates the role of haptic sensation in the context of the performer-instrument relationship and draws on the writings of Georges Bataille to illuminate a discussion of the erotic in performance.
| Original language | English |
|---|---|
| Pages (from-to) | 27-35 |
| Number of pages | 9 |
| Journal | Contemporary Music Review |
| Volume | 25(1-2) |
| Issue number | 1-2 |
| DOIs | |
| Publication status | Published - 01 Feb 2006 |
ASJC Scopus subject areas
- Music