IS IT POSSIBLE TO HEAR THE TIME-DURÉE?
A CRITIQUE OF MUSICAL BERGSONISM
Keywords:
Vladimir Jankélévitch, Gabriel Marcel, Time, Ineffable, Durée, Gisèle BreletAbstract
The article analyzes the subject of musical listening of time
in Vladimir Jankélévitch philosophy, seeking to assess what is the phenomenal
proof alleged by Jankélévitch to support the thesis that musical listening of time
carries the same properties as Henri Bergson’s concept of durée. We conclude
that (1) Jankélévitch’s temporal descriptions are not sufficient to sustain that
listening to music is equivalent to listening to the properties of durée, and that
(2) this fact implies a problem both for the maxim “music is the art of time” and
for the general capacity of Bergsonism, verified in other authors, to founding
a philosophy of music.
Downloads
References
ALDROVANDI, L. A. V. “A ideia de espaço na comunicação sonora: a composição
musical recente”. São Paulo: PUC-São Paulo, 2004. [Tese de doutorado].
ATKINSON, P. “Vladimir Jankélévitch, Henri Bergson, and the Emergence of a Musical
Aesthetic”. In: M. La Caze (ed.), 2019, pp. 177-196.
AYREY, C. “Jankélévitch the Obscure(d).” Music Analysis, Vol. 25, Nr. 3, 2006, pp.
-57.
BAILLET, J. “Gérard Grisey. Fondements d’une écriture”. Paris: L’Harmattan, 2000.
BERGSON, H. “Essai sur les données immédiates de la conscience”. Une collection
développée en collaboration avec la Bibliothèque Paul-Émile-Boulet de l’Université
du Québec à Chicoutimi, 2003a.
______. «La pensée et le Mouvant. Essais et conférences». Un document produit en
version numérique par Mme Marcelle Bergeron, bénévole professeure à la retraite de
l’École Dominique-Racine de Chicoutimi, Québec et collaboratrice bénévole, 2003b
.
______. «Introduction à la métaphysique». Paris: Payot & Rivages, 2013 [1903].
______. “Ensaio sobre os dados imediatos da consciência”. Tradução J. S. Gama.
Lisboa: Edições 70, 1988.
BRELET, G. “Le temps musical: essai d’une esthétique nouvelle de la musique”. Vol.
Presses Universitaires de France, 1949.
CABALLERO, C. “Fauré and French Musical Aesthetics”. Cambridge: Cambridge
University Press, 2003.
CHABANON, M.-P.-G. de. “Da música em si e em suas relações com a palavra, as
línguas, a poesia e o teatro”. In: L. Tomás, 2011, pp.17-122.
CLARKE, D., CLARKE, E. F. “Music and Consciousness: Philosophical, Psychological,
and Cultural Perspectives”. Oxford: Oxford University Press, 2011.
CSEPREGI, G. “The Relevance of Gabriel Marcel’s Musical Aesthetics”. British
Journal of Aesthetics, Vol. 54, Nr. 1, January 2014, pp. 15-29.
FAGUNDES, C. “De Musica. Diálogo filosófico de Agostinho de Hipona (354-430):
Introdução, tradução e notas”. Porto Alegre: Universidade Federal do Rio Grande do
Sul, 2014. [Tese de doutorado]
FRONEMAN, W. “The desire for the ineffable: on the myth of music as absolute”.
Koers, Vol. 74, Nr. 1 & 2, 2009, pp. 1-22.
GALLOPE, M. “Technicity, Consciousness, and Musical Objects”. In: D. Clarke,
, pp, 47-63.
GALLOPE, M., KANE, B. (ed.). “Colloquy Vladimir Jankélévitch’s Philosophy of
Music”. Journal of the American Musicological Society, Vol. 65, Nr. 1, 2012, pp. 215-256.
GONTIJO, C. S. “Em busca da ipseidade musical: a música e o inefável de Vladimir
Jankélévitch”. Scripta, Vol. 21, n. 41, 2017, pp. 213-225.
______. “Vladimir Jankélévitch e a canção de Gabriel Fauré”. In: C. S. Gontijo (ed.),
, pp. 151-176.
GONTIJO, C. S., ZILLE, J. A. Baêta (ed.). “Os filósofos e seus repertórios”. Série
Diálogos com o Som, Vol. 5. Belo Horizonte: Ed. UEMG, 2019.
HANSLICK, E. “Vom Musikalisch-Schönen: Ein Beitrag zur Revision der Ästhetik
der Tonkunst“. Leipzig: Druck und Verlag von Breitkopf & Härtel, 1922 [e-book].
HERÁCLITO. “Os Pré-Socráticos”. Tradução J. C. Souza et al. São Paulo: Nova
Cultural, 1996 (Coleção Os Pensadores).
JANKÉLÉVITCH, V. «Debussy et le mystère de L‘instant». Paris: Plon, 2019 [1976].
______. «Fauré et l’inexprimable». Paris: Librairie Plon, 1974.
______. «La musique et l’ineffable». Paris: Seuil, 1983.
______. “A música e o inefável”. Tradução C. S. G. São Paulo: Perspectiva LTDA, 2018.
JOHNSTONE, M. A. “Aristotle on Sounds”, British Journal for the History of Philosophy,
Vol. 21, Nr. 4, 2013, pp. 631-648.
KOZAK, M. “Enacting Musical Time”. New York: Oxford University Press, 2020.
KRAMER, J. D. “The Time of Music”. New York: Schirmer Books, 1988.
LA CAZE, M., ZOLKOS, M. (ed.). “Contemporary Perspectives on Vladimir
Jankélévitch: On What Cannot be Touched”. Lanham: Lexington Books, 2019.
LOCHHEAD, J. “The Sublime, the Ineffable, and Other Dangerous Aesthetics.” Women
and Music: A Journal of Gender and Culture, 12, 2008, pp. 63-74.
______. “Can We Say What We Hear? Jankélévitch and the Bergsonian Ineffable”. In:
M. Gallope, 2012, pp. 231-235.
______. “The Metaphor of Musical Motion: Is There an Alternative”. Theory and
Practice, Vol. 14/15 (1989/1990), pp. 83-103.
MALCOLM, A. “A Treatise on Musick, Speculative, Practical & Historical”. Edinburgh:
Printed for the author, 1721 [Online]. Disponível em: https://play.google.com/books/
reader?id=gzhDAAAAcAAJ&pg=GBS.PP4&hl=pt (Acessado em 09 de dezembro
de 2021).
MARCEL, G. “Music and Philosophy”. Milwaukee, Wisconsin: Marquette University
Press, 2005a.
______. “Bergson and Music”. In: G. Marcel, 2005b, pp. 85-95.
______. “Music Understood and Music Experienced”. In: G. Marcel, 2005c, pp. 97-102.
MCBRAYER, B. M. “Mapping Mystery: Brelet, Jankélévitch, and Phenomenologies
of Music in Post-World War II France”. Pittsburgh: University of Pittsburgh, 2017.
[Tese de doutorado].
RINGS, S. “Talking and Listening with Jankélévitch.” Journal of the American
Musicological Society, Vol. 65, Nr. 1, 2012, pp. 218-223.
ROWELL, L. “El tiempo en las filosofías románticas de la música”. Anuario filosófico,
Universidad de Navarra, 29, 1996, pp.125-168.
RUMPH, S. “Fauré and the Effable: Theatricality, Reflection, and Semiosis in the
mélodies”. Journal of the American Musicological Society, Vol. 68, Nr. 3, 2015, pp.
–558.
SILVA, F. L. “Bergson: intuição e discurso filosófico”. São Paulo: Loyola, 1994.
SMALLEY, D. “Space-form and the acousmatic image”. Organized Sound, Vol. 12,
Nr. 1, Cambridge University Press, 2007, pp. 35-58.
SOCHA, E. “Bergsonismo musical: O tempo em Bergson e a noção de forma aberta
em Debussy”. São Paulo: Universidade de São Paulo, 2009. [Dissertação de mestrado].
SOUZA, J. C.. “Os pré-socráticos: fragmentos, doxografia e comentários”. São Paulo:
Nova Cultural Ltda., 1996.
STRAVINSKY, I. “Poetics of Music: In the Form of Six Lessons”. Cambridge: Harvard
University Press, 1947 [1942].
STUMPF, C. “The Origins of Music”. United Kingdom: Oxford University Press.
[1911].
TOMÁS, L. “À procura da música sem sombra. Chabanon e a autonomia da música
no século XVIII”. São Paulo: Ed. Unesp, 2011.
VARÈSE, E. “The Liberation of Sound”. Perspectives of New Music, Vol. 5, Nr. 1
(Autumn – Winter), 1966 [1936], pp. 11-19.
Downloads
Published
How to Cite
Issue
Section
License
Copyright (c) 2024 Revista Kriterion
This work is licensed under a Creative Commons Attribution 4.0 International License.
