This paper intends to offer a new opening to temporality from the musical listening and, in through this one, to extend the philosophical considerations on the time. Such an opening is accessed when, firstly, some of the ways of understanding temporality conceived throughout the history of Philosophy in its priority relation to the sense of sight are questioned; and secondly, when we discuss how musicians experience and understand what they call musical time. In pursuit of these aims, this thesis undertook a set of philosophical discussions on temporality (Zeitlichkeit), affections (Befindlichkeit / Stimmung) and finitude (Endlichkeit) with reference to the work of Martin Heidegger, a philosopher who contributed significantly to the considerations on the question of time. However, according to the tradition of philosophical thought, Heidegger was close to what this work called the primacy of sight, whose origin goes back, according to this thesis, to the writings of Homer, Plato and Aristotle. For this reason, in order to move away from the sight s paradigm and to be close to listening to musical temporality, we also had to question some of Heidegger s considerations, which indirectly led us to questions about the spatiality of space, about the self (Selbstheit) and about sensation (Empfindung) as discussed in Being and Time. As a way of aiding the musical purposes of this thesis, texts on music theory written by Arnold Schoenberg, Bohumil Med and Maria Luisa Priolli underpinned the discussions about musical temporality and helped us to investigate, along with the text The Question of Technique, also written by Heidegger, the privilege given to the sense of sight in the bibliographical production coming from the academies of music.