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BOENN. Importance-Of-Husserls-Phenomenology-Of-Internal-Time PDF
BOENN. Importance-Of-Husserls-Phenomenology-Of-Internal-Time PDF
down into unconsciousness the more distance is created responses: Imagination, Tension, Prediction, Reaction and Appraisal.
Figure 2. A perceived rhythm E1 and its four retentional
layers E2-5
with k := index of the onset in the sequence, n := a nat- [3] Deutsch, D. Grouping Mechanisms in Mu-
ural integer, ER := onset of the feedback loop within re- sic, The Psychology of music, pp.299-348,
tentional layer n, EW := onset time within the perceived Academic Press, San Diego, 1999,
layer, ZW := inter-onset time within the pereceived layer [4] Hegel, G.W.F. Aesthetics : lectures on fine art.
as EW(k+1) EWk . Clarendon Press, Oxford, 1975.
If n is an integer > 0, the formula generates the onsets
of the nth retenional layer. The chances are then relatively [5] Honing, H. Structure and Interpretation of
high that any ERk may coincide with a EW(k+i) ,with i Rhythm and Timing, Tijdschrift voor Muziek-
as an integer > k. But if n is a rational number > 0, the theorie, 7:3, pp.227-232, 2002.
chances are relatively high that any ERk may not coincide
[6] Huron, D. Sweet Anticipation: Music and the
with a EW(k+i) , but rather falls in-between inter-onset
Psychology of Expectation. MIT Press, 2006.
times of the perceived layer. Instead of discrete retentional
layers (with n as an integer) there is then a time field with [7] Husserl E. The Phenomenology of inter-
an infinite number of layers between the discrete layers. If nal time-consciousness. Nijhoff, The Hague,
n changes for concecutive k of onsets one obtains propor- 1964.
tional transformations of the inter-onset times within a re-
tentional layer. If n changes for each one of the individual [8] Iverson, P. and Krumhansl, C. L. (1993) Iso-
layers one obtains non-linear trajectories between the on- lating the dynamic attributes of timbre, Jour-
sets of the feedback loops leading downwards from layer nal of the Acoustical Society of America, 94:5,
to layer. If n is < 0 one obtains the inverse of the princi- pp. 2595-2603, 1993.
ple, i.e. a given rhtyhm would be mapped on a fictitious [9] Langer, S.K. Feeling and form : a theory of
rhythm in the past, as if the fictitious rhythm in the past art developed from Philosophy in a new key.
would be the perceived rhythm and the given rhtyhm Routledge and Kegan Paul, London, 1953.
would be a retentional layer of that fictitious rhythm. This
negative prnciple again offers the same options as before, [10] Papadelis, G. and Papanikolaou, G. The Per-
i.e. n as an integer or a rational number, changing from ceptual Space Between and Within Musical
one onset to the next onset or between individual layers. Rhythm Categories, in: Davidson, J.W. ed.
In the end one can imagine free trajectories through any The Music Practitioner, pp.117-129, Ashgate,
point of the retentional time field. In this manner one gen- Burlington, 2004.
erates new rhythms over and over again, but always based
[11] Schenker, H. Five graphic music analyses.
upon one and the same single line of durations.
Dover Publications, New York, 1969.