Abstract

The premise of this brief study is an examination of the conditions in which a decentering can occur in the Blanchotian manner of the experience of listening to music. Through an exploration of these conditions of decentering, and taking as an example the first scene of the narrative Thomas the Obscure, the text probes the very notion of music, its presuppositions and prerogatives, in order to construct subsequently the hypothesis of a music free from any polar structure, of a music construed as simply a given. By thus circumscribing all music between the two poles of a music comparable, on the one hand, to a landscape or natural horizon and, on the other hand, to a language, the essay foregrounds within Blanchot’s thought the basis of a possible becoming for a music which would engage the listener not as a plane of actualization but as a porous space.