José Eduardo Costa Silva, Gilmar Antonio Monte

MÚSICA: TEMPO E SER

Introduction

MÚsica: tempo e ser . Analise a música como expressão imediata do tempo na filosofia de Martin Heidegger. Compreenda a "mousiké" heideggeriana e seu papel na linguagem e no sentido do ser.

Abstract

O presente artigo consta de uma reflexão sobre o conceito de música na filosofia de Martin Heidegger. Esta reflexão é centrada na ideia de que a música se articula como tempo, tornando-se expressão imediata desta categoria, tal como depreendemos da leitura dos seguintes textos: O conceito de tempo; Ser e Tempo; Tempo e Ser; Nietzsche; A origem da Obra de Arte; Conferências sobre a linguagem. Desta leitura, inferimos a hipótese de que a música é expressão imediata da categoria tempo, na medida em que o tempo participa essencialmente de sua estrutura. Nesse sentido, a música há de ser, no contexto do pensamento heideggeriano, a mousiké; isto é, o lógos que doa o sentido do ser na linguagem. A argumentação se desenvolve em três partes, uma primeira em que refletimos sobre o conceito de tempo proposto por Heidegger; uma segunda, que sustenta a proposição de que o tempo participa da estrutura do ente e, por fim, uma terceira, onde caracterizamos a música em sua conexão essencial com o tempo e a relação desta ideia com o conceito heideggeriano de mousiké.

Review

The article "MÚSICA: TEMPO E SER" proposes a fascinating and significant philosophical inquiry into the concept of music within the framework of Martin Heidegger's thought. The central thesis posits that music articulates itself as time, serving as an immediate expression of this fundamental category, and crucially, that time essentially participates in music's very structure. This leads to the ambitious hypothesis that, within the Heideggerian context, music should be understood as *mousiké*, interpreted as the *lógos* that donates the sense of being in language. This topic holds considerable promise, offering a rich intersection between aesthetics, ontology, and the hermeneutics of one of the 20th century's most influential philosophers. The abstract outlines a robust methodological approach, drawing upon a comprehensive selection of Heidegger's seminal texts, including *O conceito de tempo*, *Ser e Tempo*, *Tempo e Ser*, *Nietzsche*, *A origem da Obra de Arte*, and *Conferências sobre a linguagem*. This wide textual engagement suggests a thorough and well-researched foundation for the argument. The article's structure is logically organized into three distinct parts: an initial reflection on Heidegger's concept of time, followed by an exploration of time's participation in the structure of being, and culminating in a characterization of music's essential connection with time and its relation to the Heideggerian notion of *mousiké*. This sequential development indicates a clear pathway for the author to build their complex argument from fundamental principles to specific conclusions. Overall, this article promises to be a valuable contribution to both Heideggerian studies and the philosophy of music. The central hypothesis is both original and thought-provoking, potentially opening new avenues for understanding the ontological status of music. The clarity of the abstract regarding its scope, methodology, and argumentative structure is commendable. However, the strength of the claims, particularly the identification of music as the *lógos* that donates the sense of being, will necessitate extremely rigorous and nuanced argumentation to fully substantiate. The success of the paper will hinge on how convincingly it bridges the abstract philosophical concepts of time and being with the concrete phenomenon of music, demonstrating the "immediacy" of this expression and the specific mechanisms through which *mousiké* functions as a fundamental *lógos*. Given the ambitious nature of the thesis and the evident depth of research, this paper warrants careful consideration and has the potential for significant scholarly impact.

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