Temps et musique dans la pensée d’Augustin
Augustine’s idea of music, which was worked out in the De musica around the notion of movement, cannot be separated from his reflection on time. Beginning from the defi nition of music as ‘science of movement’, Augustine is led to introduce the concept of number, a key notion in music, which is phil...
| Autor principal: | |
|---|---|
| Tipo de documento: | Electrónico Artículo |
| Lenguaje: | Francés |
| Verificar disponibilidad: | HBZ Gateway |
| Interlibrary Loan: | Interlibrary Loan for the Fachinformationsdienste (Specialized Information Services in Germany) |
| Publicado: |
2009
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| En: |
Revue d'études augustiniennes et patristiques
Año: 2009, Volumen: 55, Número: 2, Páginas: 171-188 |
| Acceso en línea: |
Volltext (kostenfrei) Volltext (kostenfrei) |
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| 520 | |a Augustine’s idea of music, which was worked out in the De musica around the notion of movement, cannot be separated from his reflection on time. Beginning from the defi nition of music as ‘science of movement’, Augustine is led to introduce the concept of number, a key notion in music, which is philosophically discussed by him, and which illuminates the question of the production of time. The perception of this production of time implies a kind of listening that brings with it the memory, considered here in the two dimensions of its exercice, horizontal and vertical. At the crossroads of these two dimensions, Augustine finds the basis of an experience of time opened to eternity. Music means to him the preferential way to such an experience; therefore his reflections about music and time illuminate themselves mutually. | ||
| 520 | |a La conception de la musique qu’Augustin a élaborée dans le De musica autour de la notion de mouvement, est inséparable de sa réflexion sur le temps. À partir de la définition de la musique comme « science du mouvement », il est conduit en effet à introduire le nombre, une notion capitale en musique, mais qui, dans sa pensée, est traitée à hauteur philosophique et éclaire la question de la production du temps. La perception de cette production du temps suppose une écoute qui engage quant à elle la mémoire, ici considérée selon les deux dimensions horizontale et verticale de son exercice. C’est au croisement de ces deux dimensions qu’Augustin trouve le fondement d’une expérience du temps ouvert à l’éternité. La musique représente pour lui la voie privilégiée d’une telle expérience, c’est pourquoi ses réflexions sur la musique et sur le temps, s’enrichissent et s’éclairent mutuellement. | ||
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