1984
DOI: 10.1093/mq/lxx.3.355
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Phenomenology as a Tool for Musical Analysis

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Cited by 51 publications
(29 citation statements)
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“…While the phenomenological approaches in this observation are based on the works of the original phenomenologists, two specific approaches need to be explained further here to give a clearer understanding of how the methods used in this research. Ferrara (1984) proposes a phenomenological method as a tool to analyze music that has a different understanding from the phenomenological works of Husserl, Heidegger and Merleau-Ponty, in that it uses a construction of syntax, semantic, and ontological conception. Ferrara's approach is closer to structuralism way of analyzing where it sees its object as a form of language or a metaphor.…”
Section: Methods and Theoretical Frameworkmentioning
confidence: 99%
“…While the phenomenological approaches in this observation are based on the works of the original phenomenologists, two specific approaches need to be explained further here to give a clearer understanding of how the methods used in this research. Ferrara (1984) proposes a phenomenological method as a tool to analyze music that has a different understanding from the phenomenological works of Husserl, Heidegger and Merleau-Ponty, in that it uses a construction of syntax, semantic, and ontological conception. Ferrara's approach is closer to structuralism way of analyzing where it sees its object as a form of language or a metaphor.…”
Section: Methods and Theoretical Frameworkmentioning
confidence: 99%
“…The "correctness" of the analysis cannot be measured (Ferrara, 1984).The meanings that come to light are totally unique to this patient, as seen and understood by this observer, based on the patient's expressions in these two sessions.…”
Section: Metacritical Evaluationmentioning
confidence: 95%
“…I have already argued that the electroacoustic community already meets three of the four criteria of a wise crowd (Gatt 2013): 12 the final criterion that was not meet was aggregation, which Surowiecki (2004: 74) 9 In his book Music and Discourse (1990), Nattiez is one of the few scholars to consider the implications of semiotics within electroacoustic music. Ferrara (1984) has also indicated how a phenomenological approach to analysis could be applied to an electroacoustic work. 10 Which might include a score, graphical representation, written analysis or multimedia application.…”
Section: Theorymentioning
confidence: 99%