Excavating Lewin's "Phenomenology"

Kane, Brian

doi:10.1525/mts.2011.33.1.27

Cited by 16 publications

(1 citation statement)

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“…In specifically music-analytical andtheoretical circles, recent interest in phenomenology was motivated some thirty years ago by David Lewin's "Music Theory, Phenomenology, and Modes of Perception," as Blum points out. The astute critiques by Brian Kane (2011) and Maryam Moshaver (2012) have already pointed out that Lewin employed a narrow and quirky notion of phenomenological methods and concepts that today seem anachronistic. Lewin ostensibly builds upon Husserl's account of the continuity of temporal objects, such as a sustained tone, but relies primarily on Izchak Miller's (1984) account of Husserl's theory of time-consciousness.…”

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confidence: 99%

Review-Essay on Suzannah Clark and Alexander Rehding, eds.,Music in Time: Phenomenology, Perception, Performance(Harvard University Press, 2016)

Lochhead

2019

MTO

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The essays collected in Music in Time grew out of a conference organized to celebrate the work of Christopher Hasty, with the collection itself serving as a festschrift. The editor's preface and many of the essays take Hasty's 1997 book, Meter as Rhythm, as challenging music analytical/theoretical scholarship to take account of music's temporality-of its nature as processual becoming. As is expected for such collections, the essays approach this topic in various ways. Scholars in musicology, music theory, and ethnomusicology who have been colleagues or students of Hasty's contributed essays:

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confidence: 99%

Review-Essay on Suzannah Clark and Alexander Rehding, eds.,Music in Time: Phenomenology, Perception, Performance(Harvard University Press, 2016)

Lochhead

2019

MTO

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Musikwissenschaft und Musiktheorie

Sprick¹

2013

Historische Musikwissenschaft

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On the Nonindependent Parts of Time-Consciousness: Husserl’s Early Phenomenological Investigations and the Perception of Melody

Wiskus¹

2020

Music Theory Spectrum

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Drawing upon Edmund Husserl’s Logical Investigations, I apply the laws of mereology—the study of parts and wholes—to the analysis of time-consciousness in his On the Phenomenology of the Consciousness of Internal Time (1893–1917), arguing that Husserl’s phenomenological solution to problems raised by empirical psychology in the late nineteenth century concerning the relation between subject and object was inspired by a rethinking of the notion of intentionality in terms of an extensional whole. Turning, then, to descriptions from Husserl’s careful analyses of tone and melody in On the Phenomenology of the Consciousness of Internal Time (1893–1917), I claim that melody’s structure of expression pertains specifically to retention (which I distinguish from recollection) as a nonindependent part of a flowing whole. This mereologic reformulation helps us think through the problem of how a melody is perceived in time. Furthermore, I show how, according to Husserl, there is a unity of the sensation of “tone” and the “flow of consciousness,” and I argue that by understanding this unity as a whole of nonindependent parts, we grasp a significant insight that illuminates phenomenology’s overall aim of considering the evidence of empirical science together with the formal laws of logic.

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Excavating Lewin's "Phenomenology"

Cited by 16 publications

References 4 publications

Review-Essay on Suzannah Clark and Alexander Rehding, eds.,Music in Time: Phenomenology, Perception, Performance(Harvard University Press, 2016)

Review-Essay on Suzannah Clark and Alexander Rehding, eds.,Music in Time: Phenomenology, Perception, Performance(Harvard University Press, 2016)

Musikwissenschaft und Musiktheorie

On the Nonindependent Parts of Time-Consciousness: Husserl’s Early Phenomenological Investigations and the Perception of Melody

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