The second chapter of the Keywords section of the series “Anthologie du phem” (phem source readings) aims to report on the success of Henri Bergson in the musical field during the first half of the 20th century. In the general press as well as in specialized music journals, a theoretical framework based on notions initially forged by Bergson—such as “duration” or “intuition”—is developed, leading to the redefinition of the musical work and the defense of a modernist aesthetic. The three selected articles correspond to crucial moments in the assimilation of Bergsonian philosophy in musical field, from the first conceptual milestones laid down by the music critic Louis Laloy in 1914 to the use of Bergson’s key ideas, now part of the current vocabulary, by the composer Désiré Pâque in 1935.