[en] The literature of thought is, in the present moment, in a critical and selfless situation. The last attempts at systematization carried out by the Enlightenment tradition characterize the philosophy into an exhausted path, both in its immanent and metaphysical aspects, especially in the face of the philosophical tragicism of the last decades. The arts, exorcised above all by the novel, essay and music of Romanticism, seem to have added to this dialogue impossible to subject to criticism, closing the traditional reason to its conceptual and methodological use. Eugenio Trías' philosophical approach (1942-2013) restores the metaphysical vocation and the systematic effort of European tradition. The result is a vast conceptual building dominated by the notion of limit, as an instance of separation and link between the world and the transcendence, which gives expositive and novel way to a thought that prepares, in the 21st century, a new framework of understanding for the subject, philosophy and the arts. This research undertakes, from the philosophy of the limit, an analysis of the visceral relationship between philosophy and the arts, especially the music, whose representation of the limit points to the concept of "symbol". With the symbol, it aims to justify the significant and cognitive nature of the artistic creation as the activity that embodies the frontier being (ontology), and whose matter often resists categorial treatment; to apply in second place to music the method followed by metaphysics from its foundation, from whose results, try to complement or surpass the triassian proposal by virtue of a unitary and new discourse, a proposal that allows to resume the dialogue, the course and orientation of universal thinking about music. Finally, by applying to music the notion of limit, Aesthetics is approached by a fruitful and fecund field of research which finds in the philosophy of the 21st century an inescapable point of reflection. At this point, we attend to the metaphysical reflection of a phenomenon that welcomes both creators and viewers to the core of the limit, that is to say, to the delicate frontier between "what can be said and what should remain silent".

[gl] A literatura do pensamento áchase, neste momento presente, nunha situación abnegada e de profunda crise. Os derradeiros intentos de sistematización desenvolvidos pola tradición ilustrada caracterizan a filosofía na metade dun camiño esgotado, tanto na súa vertente inmanente como na metafísica, sobre todo ante o traxicismo filosófico das últimas décadas. As artes, en consecuencia, exorcizadas sobre todo dende a novela, o ensaio e a música do Romanticismo, parecen terse sumado a un diálogo imposible de ser sometido á crítica, pechando a razón tradicional ao seu uso conceptual e metodolóxico. A proposta filosófica de Eugenio Trías (1942-2013) restablece a vocación metafísica e o afán sistemático da tradición europea. O resultado é un magno edificio conceptual presidido pola noción de límite ¾instancia de separación e de enlace entre o mundo e o trascendente¾ que encamiña expositiva e novedosamente un pensamento que prepara, no século XXI, un novo marco de comprensión para o suxeito, a filosofía e as artes. Nesta investigación empréndese ¾dende a denominada filosofía do límite¾ unha análise da relación visceral que existe entre a filosofía e as artes, especialmente coa música, cuxa representación oriéntase cara ao concepto de "símbolo". Co símbolo plantéxase en primeiro lugar a necesidade de xustificar a natureza significativa e cognoscitiva da creación artística como a actividade que encarna o ser da fronteira (ontoloxía) para poñer de manfiesto a resistencia que de xeito constante ofrece o traballo categorial; aplicar en segundo lugar á música o método seguido pola metafísica dende a súa fundación, a partir de cuxos resultados, intentar complementar ou superar a proposta triasiana en virtude dun discurso unitario e novo, unha proposta que permita retomar o diálogo, o rumbo e orientación dun pensamento universal sobre a música. Finalmente, aplicada á música a noción de límite, achegarase á estética un fecundo campo de investigación, que encontra na filosofía do século XXI un punto ineludible de reflexión. Asístese, en síntese, neste traballo, á reflexión metafísica dun fenómeno que acolle tanto a creadores como a espectadores no seo do límite, isto é, que nos posiciona na delicada fronteira entre "o que pode dicirse e o que debe calarse".