Fragments on the phenomenology of music

Schütz, Alfred; Kersten, Fred

doi:10.1080/01411897608574487

Cited by 57 publications

(33 citation statements)

References 3 publications

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“…In terms of the latter group, two writers explore the effects of the media, particularly musical notation and electronic recordings on music, namely, John Shepherd (Shepherd et al, 1977;Shepherd, 1991) and Richard Middleton (1990). But, it is only when we encounter work in the phenomenological (Schutz, 1964(Schutz, , 1976Malholtra, 1981;Bensman, 1983)and ethnomethodological traditions (Sudnow, 1978(Sudnow, , 1979Bryant, 1977 and a later description of his experiment in Garfinkel & Wieder, 1992: 189-192;Weeks, 1990) that we find any serious attention to musicians' practices in the context of typical practical problems, collaboratively achieving synchrony and interpretations of musical texts. Since a major preoccupation of this paper is temporality, I shall turn to a fuller review on work in that area.…”

Section: Introductionmentioning

confidence: 99%

Synchrony lost, synchrony regained: The achievement of musical co-ordination

Weeks

1996

Hum Stud

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As part of a series of Ethnomethodological Studies of Work, this paper focusses upon a short stretch of a final concert performance of the Saint-Saens Septet by a set of amateur musicians in which timing errors occur but in response to which various manoeuvres 'successfully' restore synchrony. I set out to demonstrate that these afford a strategic access for ethnomethodologists to sets of musicians' practices whereby musical synchrony is ongoingly accomplished. The central curiosity of this study is the set of distinctive practices whereby a musical text set out in a spatial, linear sequence of markings is realized in a collective performance that unfolds not only in precise time values but also in synchrony.This paper analyzes three errors in a short passage and the ways in which they are 'corrected' either by the errant musician himself or by the other musician in response. In these cases, the restoration of synchrony and the routine performance of the piece thereafter are accomplished successfully in the sense that those listening to the tape of it generally fail to notice any problem! This contrasts to my detection of problems during both my participation in the performance and repeated listening of the resulting audio-tape, I argue that it is this systematic difference in possible hearings that musicians are oriented to when attempting to 'fake it'. Thus, the essential interest is in members' methods for maintaining as well as restoring synchrony.What can we retrieve of members' in situ, embodied practices where talk is absent from a close description of the resultant order, the details of the musical performance? I claim that Schegloff's stipulated requirement that CA ground its claims in the details of the talk is not appropriate for the study of music. In contrast with conversation in which we are competent participants, one requires musicians' insider knowledge in order to recover just what members are doing. Repeated listening is not enough.

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Section: Introductionmentioning

confidence: 99%

Synchrony lost, synchrony regained: The achievement of musical co-ordination

Weeks

1996

Hum Stud

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“…produce a pervasive reverberation, the hallmark of the underground (Labelle 2010), which may, variously, enhance or hinder a musician's sound. Objects and materials are active participants in what is, in the case of musical performance and perception, an affective, sensorial, and fundamentally intersubjective social experience (Schutz and Kersten 1976).…”

Section: Everyday Improvisation Undergroundmentioning

confidence: 99%

Improvised Performances: Urban Ethnography and the Creative Tactics of Montreal’s Metro Buskers

Wees

2017

Humanities

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Buskers-street performers-evince the creative tactics of self-conscious agents who are both produced by and productive of the social and material conditions within which they carry out their practices. In this article, I discuss my ethnographic research among buskers in Montreal's underground transit system-the metro-and examine their highly variable and improvisational practices (musical and spatial). I detail how buskers work with and against the constraints and possibilities posed by the material characteristics of those spaces (especially in terms of acoustics) as well as formal regulations and prevailing social norms. This suggests understanding busking as a relational process of "cobbling together" that is never entirely fixed or bounded, but dispersed and always in-the-making. Further, I demonstrate how the research process in this context is itself a creative, improvisational approach, guided as much by the conditions at hand as by an overarching research design. By drawing parallels between the busker-performer and my role as researcher and creative producer, particularly in my use of audiovisual production, I argue that ethnographic research is, itself, a form of assemblaging, of bricolage-an embodied, relational process that involves multiple participants (human and material) of varying influences, bound together by the tactical activities of the researcher.

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“…2. Afora estudos seminais de Alfred Schutz (1976) e Thomas Clifton (1983), entre outros, conferir a contribuição recente de David Clarke (2011). Em âmbito brasileiro, concedo destaque aos trabalhos de Celso Loureiro Chaves (2003), Ricardo Nachmanowicz (2007) e Pedro Amorim Filho (2013).…”

Section: Notasunclassified

Ensaio sobre a construção hermenêutica de um tempo narrativo em música

Angelo¹

2016

Arteriais - Revista do PPGARTES

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Este é um ensaio especulativo, que aborda algumas questões sobre o tempo como um fator relevante na análise musical, as quais persistem como debate aberto aqui e em outros textos concernentes à teoria da música. Qual a origem do tempo na experiência musical; e qual o nosso papel, como ouvintes, em sua concepção: tais problemáticas servem de impulso para a argumentação aqui proposta, e estabelecem a base para uma abordagem ambivalente da ideia de tempo na música, a qual envolve conceitos da fenomenologia e teoria da metáfora. Como complementação, realizo um breve estudo analítico sobre minha peça para piano intitulada Pandorga. À guisa de conclusão, implicações em relação ao impacto potencial dessa abordagem sobre a análise musical são discutidas.

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Fragments on the phenomenology of music

Cited by 57 publications

References 3 publications

Synchrony lost, synchrony regained: The achievement of musical co-ordination

Synchrony lost, synchrony regained: The achievement of musical co-ordination

Improvised Performances: Urban Ethnography and the Creative Tactics of Montreal’s Metro Buskers

Ensaio sobre a construção hermenêutica de um tempo narrativo em música

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