The aim of the present essay is to examine the relationship and the mutual implication of theoretical experience and musical experience in the thought of Massimo Donà. The general issues of the essay are: “What kind of event is shown in Donà’s philosophical-artistic gesture?” “How to think things not since they are, or signify, but since they happen?” The great attempt of this philosophical and together artistic gesture, is to express in two different languages (which however cannot avoid looking at each other in the mirror) the rhythm of the reality itself, or even better, the reality itself as rhythm; that rhythm shakes, challenges the permanence, the stability, the significance of being, whose structure is modeled on the logic of identity (A = A) and exclusion (A ≠ B). The thing becomes sound, the body stops experiencing temporality as an attribute, but it lives itself, it experiences itself as temporal singularity, perfectly innocent duration. Far more than a discussion or argue about the most substantial moments of the whole onto-theological tradition (which yet represents an important and essential part of Donà’s work), this essay moves towards highlighting the continuity of Donà’s speculations with a certain second-twentieth century bergsonism, that of Vladimir Jankélévitch particularly. From this combination, as well as from the continuous and unexhausted twisting of the word into sound and of the sound into word in Donà’s philosophical jam sessions, all the deep and prolific differences from the master Emanuele Severino will arise.