André Gide et l’harmonie Comment une catégorie musicale devient une catégorie existentielle

This article aims at tracing a path through the Gide’s musical culture, highlighting his preference given to hearing over sight, to rhythm over colors, to harmony over dissonance. This chapter dwells upon the concept of harmony which grew from a mere aesthetic category up to an existential one, to such an extent that Gide could not do without it any longer. The world should be a harmony or should not be it at all. This chapter shows how such a self-imposed limitation was primarily referred to Gide’s musical universe.