«Music… the Very Experience of Impossible Appropriation»
Abstract
From its beginnings, the relationship between philosophy and music has always been problematic. What is Derrida’s legacy to us on this subject? Although he did not develop a thesis about music “as such”, he opened up a path –another path– to music, and its listening. Against the optical-haptical primacy of ontology and its logo-phono-centrism, Derrida leads us, through this process of listening, to experience as impossible appropriation of the différance which entails the modulated variation of sonorous matter, and, beyond all presence, to the inaccessible experience of light of an original mourning which, at the infinite speed of a present with no past and yet to come, life and death, memory and wait, intertwine. The ending cadence of the first movement of J. S. Bach’s Brandenburg Concerto No 5 in D major, and the Finale of Schubert’s Sonata in C minor are two fine examples of this undecidible experience.Downloads
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How to Cite
Mallet M.-L. (2012). «Music… the Very Experience of Impossible Appropriation». Escritura e Imagen, Extra, 41-56. https://doi.org/10.5209/rev_ESIM.2011.37673
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