Abstract

ABSTRACT 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.