Jump to ContentJump to Main Navigation
Interdisciplinary Barthes$
Users without a subscription are not able to see the full content.

Diana Knight

Print publication date: 2020

Print ISBN-13: 9780197266670

Published to British Academy Scholarship Online: September 2020

DOI: 10.5871/bacad/9780197266670.001.0001

Show Summary Details
Page of

PRINTED FROM BRITISH ACADEMY SCHOLARSHIP ONLINE (www.britishacademy.universitypressscholarship.com). (c) Copyright British Academy, 2020. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in BASO for personal use.date: 20 October 2020

Barthes and Insignificant Music

Barthes and Insignificant Music

Chapter:
(p.180) 12 Barthes and Insignificant Music
Source:
Interdisciplinary Barthes
Author(s):

François Noudelmann

Publisher:
British Academy
DOI:10.5871/bacad/9780197266670.003.0012

Barthes kept music separate from semiology, refusing to regard sounds as signs. By analysing music from the perspective of his body, he made audible its discreet phenomenologies. Many experiences, mental, psychic, and corporal, are at stake in performing and listening to music, and they played a subtle role in Barthes's thought. His listening and his musical practice led him to favour a relationship to his piano that permitted an imaginary appropriation and erotic play. Musical pulsation develops an intimate resistance to the law, one that combines repetition and perversion. Barthes highlights obsessive rhythms such as accents, syncopations, and off-beat rhythms. His writings on music, alluding to the language of the solitary body, emphasise erections and back-and-forth movements. He frequently over-interprets the performative indications on musical scores, such as the rubato or fingering, choosing to hear in them the sexual power of desire which leads the pianist towards a disseminated jouissance. By recording himself playing the piano, he extends this pleasure to enjoyment of his own rhythm as in an onanistic practice. From a theoretical perspective, musical practice allowed Barthes to bid his farewell to semiology and to maintain a subjective resistance, both philosophical and psychological, to social language.

Keywords:   Roland Barthes, music, phenomenology, listening, piano-playing, rhythm, rubato, jouissance, fingering, musical scores

British Academy Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.

Please, subscribe or login to access full text content.

If you think you should have access to this title, please contact your librarian.

To troubleshoot, please check our FAQs , and if you can't find the answer there, please contact us.