Journal of Philosophical Investigations

Document Type : Research Paper


associate professor, art studies department, faculty of art, semnan university


The purpose of this article is to create links between ontology and musical forms. To achieve this goal, we put Heidegger's fundamental ontology against Deleuze's immanent ontology so that we can use the possibilities of this opposition. Comparing ontologies with musical models and forms has been a useful phenomenon for many thinkers and philosophers. In this article, we try to explain Heidegger's basic ontology and Deleuze's immanent ontology by applying it to two musical forms: one fugue and the other ritornello. When discussing the social dimension of Heidegger's being, one can mention Fugue, and regarding Deleuze's social being, one can mention the musical form of Ritornello. In Heidegger`s idea fugung as a jointure and fugue as a connection and disruption. It is rhythm is a temporal matter and. Thus, Heidegger's world is like a fugue that, despite all the variations of performance, remains limited to a musical subject (or a single voice). Deleuze's world brings the most different people together in his philosophy by resorting to the rhythm and musical form of ritornello. So that while they are in harmony, their tonal differences are preserved. The results of this reading and connection show the different social functions of the ontology of the two thinkers.


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