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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 (as the music itself does) 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”.
