Abstract

The purpose of this paper is to elaborate some considerations about the musical issue from the poetic-hermeneutic ontology started by Heidegger. It has for support, among others, the essay ‘Der Ursprung des Kunstwerkes’, but during our discussion, other works and authors will appear as possibilities of dialogue from the necessities of the path. Under the musical perspective, the paper takes on principle the thesis which affirms the music in a pre-representational condition as original poetic responding to the primordial question that starts all philosophy. Having it in focus, we structure the text in three main pillars of inquiry based on the musical happening: a) the reference between music and musical works; b) the role of the musicians and the audience-listeners; c) the musical knowledge. Guided by both, thesis and principles, we structure four parts interrelated whose titles are: 1) work and sound/sonority; 2) music and musical creation; 3) work, musical performing interpretation, and musical composition; 4) knowledge [coda]. The present way of organization has the intention of merging the issues proposed by the titles in order for them to be thought from the own perspectives of each section.