Philosophical Reinterpretation of Musical Temporality from a Deconstructivist Perspective

Xin Sun

doi:10.47297/wsprolaadWSP2634-786512.20260703

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Philosophical Reinterpretation of Musical Temporality from a Deconstructivist Perspective

7卷第3期

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Philosophical Reinterpretation of Musical Temporality from a Deconstructivist Perspective
Philosophical Reinterpretation of Musical Temporality from a Deconstructivist Perspective
East China Normal University, Shanghai, 200241, China
2026年7卷第3期页码：50-56
网络首发：2026-08-04，

纸质出版：2026-06-30
DOI：10.47297/wsprolaadWSP2634-786512.20260703
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Xin Sun. (2026). Philosophical Reinterpretation of Musical Temporality from a Deconstructivist Perspective. 文艺发展研究（英文版）, 7(3), 50-56.

Xin Sun.Philosophical Reinterpretation of Musical Temporality from a Deconstructivist Perspective[J].Research on Literary and Art Development,2026,07(03):50-56.
Xin Sun. (2026). Philosophical Reinterpretation of Musical Temporality from a Deconstructivist Perspective. 文艺发展研究（英文版）, 7(3), 50-56. DOI： 10.47297/wsprolaadWSP2634-786512.20260703.

Xin Sun.Philosophical Reinterpretation of Musical Temporality from a Deconstructivist Perspective[J].Research on Literary and Art Development,2026,07(03):50-56. DOI： 10.47297/wsprolaadWSP2634-786512.20260703.

摘要

Abstract

Although Derridean deconstruction theory rarely directly discusses music

its core concepts such as différance

communication

traces

substitution and genealogy have set up a valuable philosophical theoretical foundation for re-examining the temporality of music. The interpretation of music time in traditional theories is mostly confined to the framework of 'presence epistemology '

which regards music as a linear

continuous and predictable time process. Deconstructionism puts forward a completely different perspective : music time is not a given objective existence

but a dynamic field interwoven by differences and delays. In this field

the past and the future continue to penetrate and act on the present. Every practice of listening

playing and reprinting music constitutes the process of continuous generation

circulation and distribution of meaning. When différance becomes an aesthetic symbol

the dissemination logic is commercialized

and the genealogical perspective is simplified into a nostalgic consumption means

can the deconstruction criticism still maintain its own political critical effect? This paper will focus on this issue and provide theoretical reference and analysis ideas for existing research.

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references

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