Henri Bergson's thinking about duration as a key to stress the process of conformation of a musical experience

Can the realization of a written musical piece appear as a sufficient phenomenon to impulse a type of experience that suspends our need to decipher to understand and to separate to recognize? The execution of a score is commonly considered as the sound unfolding of the parts that the signs written on it disposes, however, it is precisely the abundance of what actually happens in the territory in which it is realized what that perspective cancels and may well constitute the qualitative dimension of its occurrence. The present article aims to propose a series of reflections around the operations that assist the conformation of an experience in which the sound plane, delineated by the writing of a score, appears as a phenomenal horizon that makes it possible to problematize the complex notion of duration, treated here under the light of Henri Bergson's thought. From this, to compose appears as a conceptual bet that would allow us to think said action as the singular ordering of a musical experience carried out by each subject in the framework of the realization of a work.