Abstract
edmund husserl left no specific contribution to musical aesthetics. Nevertheless, there are references regarding sound and music scattered throughout his writings. Early references chiefly bear on the subject of the part-whole relationship, with some influences from Carl Stumpf and Christian von Ehrenfels. According to Husserl, a melody, as a musical unit, is an example of a whole of which the different tones are parts. Similarly, the qualities of pitch and loudness are parts of tones (Husserl 1900–1901: III. Untersuchung, § 19).
This is a preview of subscription content, log in via an institution to check access.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Bibliography
Ansermet, Ernest. Les fondements de la musique dans la conscience humaine. Neuchâtel: Éditions de la Baconnière, 1961.
Benson, Bruce Ellis. The Improvisation of Musical Dialogue: A Phenomenology of Music. Cambridge: Cambridge University Press, 2003.
Clifton, Thomas. Music as Heard: A Study in Applied Phenomenology. New Haven: Yale University Press, 1983.
Conrad, Waldemar. “Der ästhetische Gegenstand. Eine phänomenologische Studie.” In Zeitschrift für Ästhetik und allgemeine Kunstwissenschaft” 3, 1908, 71–118, 469–511; 4, 1909, 400–55.
Ferrara, Lawrence. Philosophy and the Analysis of Music: Bridges to Musical Sound, Form, and Reference. Westport, CT: Greenwood Press, 1991.
Geiger, Moritz. “Vom Dilettantismus im künstlerischen Erleben.” In his Zugänge zur Ästhetik. Leipzig: Der Neue Geist, 1928, 1–42; rpt. in his Die Bedeutung der Kunst. Ed. Klaus Berger and Wolfhart Henckmann. Munich: Wilhelm Fink, 1976, 136–77; The Significance of Art: A Phenomenological Approach to Aesthetics. Trans. Klaus Berger. Washington, DC: University Press of America, 1986.
Hartmann, Nicolai. Das Problem des geistigen Seins. Berlin: Walter de Gruyter, 1933.
Hartmann, Nicolai. Ästhetik. Berlin: Walter de Gruyter, 1953.
Husserl, Edmund. Logische Untersuchungen. 2 vols. Halle: Max Niemeyer, 1900–1901; rpt. in his Logische Untersuchungen. Erster Band. Prolegomena zur reinen Logik. Ed. Elmar Holenstein. Husserliana 18. The Hague: Martinus Nijhoff, 1975; Zweiter Band. Untersuchungen zur Phänomenologie und Theorie der Erkenntnis. Ed. Ursula Panzer. Husserliana 19/1, 19/2. The Hague: Martinus Nijhoff, 1984; Logical Investigations. Trans. J. N. Findlay. New York: Humanities Press, 1970.
Husserl, Edmund. “Vorlesungen zur Phänomenologie des inneren Zeitbewußtseins.” Ed. Martin Heidegger. Jahrbuch für Philosophie und phänomenologische Forschung 9, 1928, 367–498; rpt. in his Zur Phänomenologie des inneren Zeitbewusstseins (1893–1917). Ed. Rudolf Boehm. Husserliana 10. The Hague: Martinus Nijhoff, 1966; On the Phenomenology of the Consciousness of Internal Time (1893–1917). Trans. John Barnett Brough. Dordrecht: Kluwer Academic Publishers, 1991, 3–137.
Husserl, Edmund. Formale und transzendentale Logik. Halle: Max Niemeyer, 1929; rpt. in his Formale und transzendentale Logik. Versuch einer Kritik der logischen Vernunft. Ed. Paul Janssen. Husserliana 17. The Hague: Martinus Nijhoff, 1974, 5–333; Formal and Transcendental Logic. The Hague: Martinus Nijhoff, 1969.
Husserl, Edmund. Analysen zur passiven Synthesis. Aus Vorlesungen und Forschungsmanuskripten 1918–1926. Ed. Margot Fleischer. Husserliana 11. The Hague: Martinus Nijhoff, 1966; Analyses Concerning Passive and Active Synthesis: Lectures on Transcendental Logic. Trans. Anthony J. Steinbock. Dordrecht: Kluwer Academic Publishers, 2001.
Ingarden, Roman, “Utwór muzyczny i sprawa jego tozsamosci.” In his Studia z Estetyki, Vol. 2. Warsaw: Państwowe Wydawnictwo Naukowe, 1958, 169–307; The Work of Music and the Problem of Its Identity. Trans. Adam Czerniawski. Berkeley: University of California Press, 1986; also in his Untersuchungen zur Ontologie der Kunst. Musikwerk, Bild, Architektur, Film. Tübingen: Max Niemeyer, 1962, 3–136; Ontology of the Work of Art: The Musical Work, the Picture, the Architectural Work, the Film. Trans. Raymond Meyer with John T. Goldthwait. Athens: Ohio University Press, 1989.
Lewin, David. “Music Theory, Phenomenology, and Modes of Perception.” In Music Perception 3, 1986, 327–92.
Lochhead, Judith Irene. “Temporal Structure in Recent Music.” Journal of Musicological Research 4, 1986, 49–93; rpt. in Understanding the Musical Experience. Ed. F. Joseph Smith. New York: Gordon & Breach, 1989, 121–65.
Mazzoni, Augusto. La musica nell’estetica fenomenologica. Milan: Mimesis, 2004.
Piana, Giovanni. Filosofia della musica. Milan: Guerini e Associati, 1991.
Schaeffer, Pierre. Traité des objects musicaux. Paris: Éditions du Seuil, 1966.
Schutz, Alfred. “Making Music Together.” In his Collected Papers II: Studies in Social Theory. Ed. Arvid Brodersen. The Hague: Martinus Nijhoff, 1964, 159–78.
Schutz, Alfred. “Fragments on the Phenomenology of Music” [1944]. In In Search of Musical Method. Ed. F. Joseph Smith. New York: Gordon & Breach 1976, 5–72; rpt. as “Fragments Toward a Phenomenology of Music.” In his Collected Papers IV. Ed. Helmut Wagner and George Psathas with Fred Kersten. Dordrecht: Kluwer Academic Publishers, 1996, 243–75.
Smith, F. Joseph. The Experiencing of Musical Sound. New York: Gordon & Breach, 1979.
Author information
Authors and Affiliations
Editor information
Editors and Affiliations
Rights and permissions
Copyright information
© 2009 Springer Science+Business Media B.V.
About this chapter
Cite this chapter
Mazzoni, A. (2009). Music. In: Sepp, H., Embree, L. (eds) Handbook of Phenomenological Aesthetics. Contributions To Phenomenology, vol 59. Springer, Dordrecht. https://doi.org/10.1007/978-90-481-2471-8_44
Download citation
DOI: https://doi.org/10.1007/978-90-481-2471-8_44
Published:
Publisher Name: Springer, Dordrecht
Print ISBN: 978-90-481-2470-1
Online ISBN: 978-90-481-2471-8
eBook Packages: Humanities, Social Sciences and LawPhilosophy and Religion (R0)