Type as Experiential Structure from a Phenomenological Point of View

Brudzińska, Jagna

doi:10.5840/du201525488

Cited by 1 publication

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“…I outline an approach to the phenomenology of improvised music which takes typifi cation and the development of multiordered phenomenological structures as central. My approach here is firmly in line with classical Husserlian phenomenology, taking the discussion of types in Experience and Judgment (Husserl, 1973) and Brudzińska (2015) as guide. I provide a phenomenological analysis of musical types as they are found in impro visational contexts, focusing on jazz in the 20th century.…”

Section: Discussionmentioning

confidence: 91%

“…Original Contributions -Originalbeiträge (Husserl, 1973) und Brudzińska (2015) als Leitfaden dient. Ich biete eine phänomenologische Analyse von Musiktypen, wie sie in improvisatorischen Kontexten zu finden sind, wobei ich mich auf den Jazz im 20.…”

Section: Discussionunclassified

“…We can even engage in historicosocial analyses which can help us to see the development of prepredicative structures over time. Brudzińska (2015) goes on to help bring us from the concept of the pre predicative to the concept of type.…”

Section: Pre-predicativementioning

confidence: 99%

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Types, Styles, and Spaces of Possibility : Phenomenology and Musical Improvisation

Atkinson

2020

Gestalt Theory

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SummaryI outline an approach to the phenomenology of improvised music which takes typification and the development of multi‐ordered phenomenological structures as central. My approach here is firmly in line with classical Husserlian phenomenology, taking the discussion of types in Experience and Judgment (Husserl, 1973) and Brudzińska (2015) as guide. I provide a phenomenological analysis of musical types as they are found in improvisational contexts, focusing on jazz in the 20th century. Styles are higher‐order musical types. Musical types are structures that are temporally “thick,” relying on sedimented typification and knowledge, driving expectations as definitional. In most forms of music (including improvised music), musical styles involve maintaining a balance between confirming expectations and flouting expectations. I show that improvised music has a phenomenal structure which is enriched by the communicative and “ real‐time” nature of improvised music. Improvised music can be seen as an exploration of a possibility space rendered by the juxtaposition of the musical types afforded by a performance environment (instrumentation, harmonic and melodic traditions, etc.). I show that improvisation in music is a multi‐vectoral form of communication. The communication is founded in what Dieter Lohmar calls “non‐linguistic thinking.” The expression is constituted in the results of active and synthesis. The culmination of improvisational exploration of possibility spaces is the precisification and enrichment of styles‐as‐types, while in some cases developing new styles in the process.

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Section: Discussionmentioning

confidence: 91%

Section: Discussionunclassified