Abstract

The present study tries to expound the contributions that the recent French Phenomenology can provide concerning a possible philosophical approach to the phenomenon of music. We will focus particularly on Michel Henry´s aesthetic reflection which considers the musical event as an immaterial art, extraneous to the objective world and that seeks basically to make visible the invisible par excellence: the inwardness of the auto-affected subjective life. We will also attend to the examination of the categories that are characteristic of Jean-Luc Marion´s “phenomenology of the gift” in order to justify the affiliation of the musical phenomenon to that kind of phenomena so-called “saturated phenomena” or “paradoxes” by Marion. A type of phenomenon that is alien to the power of the concept and that infringes the laws of empirical perception themselves. Therefore, it is about showing the relevance of a “phenomenology of music as such” understood as a way of receive that singular resounding phenomenon as it gives itself, but also – according to Husserl´s suggestion – “within the limits in which it is presented there”.