42 D.BARTHOLMEW Sein pn on 2 ‘pd i gram ein Hoe, a op md 2 doe "ing Tr Roar of ap 8D, ot Caran, Lng of A ashe Tey SB pases a eee erected SPSS ngs tei eye Alfred Schutz’s phenomenology of music ‘Auras Souvre's phenomenologial iventigations of mica nomena are contained in our esays, wien over & prid of Bpinuy oar years ex comp, wc ea ished, i ough raft fan investigation of rama and opea Eien onc ete the Second Wort War Thesened ented “SFragmcas onthe Phenomenology of Musi" dats rom 194 and war orginally writen English Bohol thes ensays were ied fn prt in Schutz’ two wellknown asaya dealing wth music pub shed in Calacted Paps I: Stas nS Thy dens developed linearis essay dean with drama al operand expression in the esay “Mozart andthe Philosophers (856), and “Fragments | an the Phoomenslogy of Musc® contain elements both Presup- | Pesed and dicey paraphrased by Schutz in “Making” Mus Together” (1951 |. ScHUTZ's PHENOMENOLOGICAL APPROACH TO Musica, xreninee probably most help to hen wth a preteaation of Sch’ standing ofthe phenomenological approach o musa expe sinee it determines hi enie investigation in a particular Only in doce Schute deal specially with the problem of the approach to maieal experienc, although some ts concerning the character eaten of this appmoac are in passing in“ Making Music Together.” as characterization snegatve: he approaches tha which ixmt he te pens ent mie Sag smear centres prostrate mae pesca femme seeeei es em nr seston Ser eae ee ee St tn ip sn menace see gal ys sandr eee ee Tenant peta he depen ore coersregtaetnea ats ‘ited wenn tiraananist tna ans hea hema sacra) Ieisnot uncommon ofind discussions ofthe physical properties of sound intent dealing with snuical experienc. The experince of ‘musi ¢“expline’ in tems of sound waves that have as thet ‘rgin «vibrating material and that ulna let the er ofthe listener. Thus the experience i explained in terms of = stim response relationship between the sound waves and thee piso ‘Sc etcte on he human ear, When we consider the sctal exper ‘ence of msi, however, we mat agre with Sehuta tha this expla- atom is inadequate, thatthe Hstener “responds nether to sound weaves, nar docs he pereive sounds; he jst fstens to muse” FPM §6), Such an explanation subetitues foram account thf © the actual experience listening to musica scheme rintrpeetaton proper opiyses and inchisway either ones or obacres he original Phenomena. Indeed, with the intrdveton of this scheme of {nterpreaton problems arse mbich would otherwie aot have wo be raised: Forexampl,weindofarves aed wih the ask fringing Ino ageeement our experience of music and the scheme af interpre tation om the fleld ef pliysice. Questions aise a to why cet? sound wave in combinaton are perceived a disonant or cons ’ tty Similarly, works on music theory unually devote 2 good deal of co casing what Shuts terms the “mathematical founda ton of musi." The experiene ofthe fstencr, however, not a5 fxprience ofthe mathematial proportions which hold between ots of erent pitch ts of wt hee odo wih te exeiencag oe (PPM 8) “his mathematical reenact indat, dent sven hip to sl the pobiem st cmonance and dronance A ther of purer nd snp ropes does enn he Poin of inane rhc Wen nc on et Time muni cleanness Scat ups tha the meaning of tae “hts egos the wnt of Ps shad arb sought nh cota of he ran pe fing eal pertnon™ whch would ney ban clone The ees sk af ance Final, Sehr ina dt te pheomencogt may deg the vais meu and methods wed nthe cl prance oF Ito os pinnae ofa musa works dain = Sie oct of Sch ndcsanding the me of x tence peel o mona works tp witch we vn deal ith Short Aa ett he hd cm Sch a fret charcter Il the posomerlogeal approach o mis exercee se ch do ao hve one ef wih mone aes nling tc human wie orth sine Some of epredocng oF ‘coring mane: Ofcoure Sch does cat sah vais Aran weir manne wy ceva muse Sips Te maker a reat de ores, expo 0 ike mail work payed wl sng simply mains Or ementre Shu a ER NaS es Wiener Selene ‘As a mua of communicating & work of musi, they are 10 be ‘dtnguished from the work af miele, the communicated‘musical content. Tis distinction underlie Schat's hind assertion About the phenomenological approach to musical experience ‘chute plainly dieregatd tow lements ofthe total experseace of a musical work which vty ftom performance to performance rom fone kind of instrument or eecrding technique to another. In tthe words, he dieregands variable or acidental clement casing fon what is invariant and essential ia musical experience. What ‘Schutz calls his “dete metho” ian approach whic oes beyond rete desertion although i pinepl,tremine faith €o the phenomena of immediate musical experince, Ths, in the present ‘Context the phenomena with which he phenamenologicl approach ‘concerns lf are 1) theessenial structure of the experience of theistene flatly srasped and 2) the “conten” ofthe musical work considered as the inte tional correlate of musical ansioutnen ith ste pele mode of Indeed, this peculiar mode of existence is eeneal for Schua's account ofthe experience of musi.” 1. THE WORK OF MUSIC AS AN DEAL OBUECT Central to Schut's phenomenology ofthe musical experience i his conception of he ieal nature ofthe work of arin geesal ad the ‘musical work in particular. However, tha key coeept remain 4 Imerly implice cement in his pobliked estay "Making Music of the musical work is merely asserted, not amined, in the carer “Fragments on the Phenomenology of Music” We must noetheew artempt to define the Heal nature ofthe work af musi ance terol for al of ‘Schu’s futher distinctions with respect tothe experince ofthe ‘workofimusic, eg. che distinction between pelyhete and monothe In Section of “Fragments Schutz asserts tha a work of music has the "character fan ideal objet,” an in Setian 9 he inves gas the peculiar nature of thi dea status. He begins by makinga Sharp ditinetion between 1) he work ofc aranideal objet, ic, the musical mening, and 2) the score or performance, ee, which a “real object” are the means of communication to which the ideal objector meaning ie bound “Te esr te nate, the pean the hake te, nape TBGvgar il voc nscor occa ene te incre Titan 0 eal cece r neocon Sei pn ale ss oomess O When Schuterfers othe “idea” nature of work of music ei “perreteeaio nol ain angie Po ex (CP 1110), Among ideal objects he includes "the concep of ‘number. othe content ofthe Fythagorean theorem asa meaning filentiyorthemeaningofasentenceor book---” (CP 1110). ideal object for Schutz san intentional objeto constituted mean ing ofthe intended objet four experience Furthermore, etry nn he a yan pea Sin wc re tr rept ing ar snd wer i pen lo ine CTT) Sch, fllowing Hust, her emphases the essential diference etween the enduring and selfsmeemited mening of te el Work and the plurality of more oF less contingent means of com “oieaing i Schut' phenomenological analyse are concerned ith the constituted meaning and not the means by which its “communicated Alb, ideal objects are “founded” wpon the various means by ich they are communicated (wtether merely imagined or acta. arent to be identified with them, For example, wih espectthe at of grasping the ideal objet a a constituted meaning space land times as. we ordinarily think of then ate unime (MMT 1). Bnei bitches compose i i Kevan they sed ha me ong ae ES (On the other hand, space and time are important forthe cmc tin ofdeal objet and thus forthe real objets upon which they ae funded Schuts makes two further distinctions concerning Seal objects 1) A work of musi i characterized by a frm of constittion peculiar to sel, which serves to distinguish i fom other. ‘mathematcal—ideal objec The Pythagorean theorem a an el object constituted ina serie felted ats deductive inference, Ina process which Huse ermed "plytheticonstitution. "Once contitated it meaning avaiable tobe gratped immediately, asa ‘whole, a the "propsiion snd it meaning,” without erence to ‘he multe of singe steps im which the meaning was fis ons tute Thus, the meaning of dea objets with conceptual content ‘of which “originally we can be aware -- only synthetically" becomes available to 4 “monotbetie™ grasping, ie, immediately fd without rehearsing the “pothetie™ acta wich the isl objet (meaning) was fiat constiated. ‘The work of munca an ideal objec, however, cannot be grasped ‘monothedealy “In one singe ray we cannot gayp the conse’ meaning oa work music" (FPM 9). Ofcourse, we can grsp the ‘mood evoked or suggested by the program noes, or the conte {erm ofa definition ofthe musical forme sonata form, passa lin theme and variations But this ontet should no be cor used with the polybeialyconstated meaning, he, the work sf musi sl, which ih hat bebop. red Sl al he deep ‘om theft we the ls fart genom ane CFP Unlike the constitution of dhe Fythagos n theorem, the orginal esc contin of he work of male et trea the Eviston faconspialecnng content whichis aalabe tobe grasped momobeicly: The meanag othe work of muse int Ieucy coneed othe ery pron oi pytheecontion om which cannot be raced 2) Schute makes Snal distinction among those ideal objets which are properly speaking “ideal singulariles" ice Sing leit) Tie ditnetion ie made in Seton 10 of "Fragment Sid is Briety suggested ins footnote to" Making Music Together” (MMT 175), Both a poem and a musical work must be reconst- tuted in a polytede manner, and im both instances the meaning ‘propel exists such an act af recanatitation. The diferencia fs an ideal object the poem may have aconcepual content, ie, 8 ‘ontent which admits being aasped monothetialy. Thisconeep tual content, however, must not be confused withthe pocticl ‘meaning ofthe ideal object. Tan discuss and theorize about the ‘conten poem by Halderin, btnsoar as respect the poem 8 em, I can never substitute any conceptual content fr the esen- Ally poythetcally constituted meaning othe poem" The work of ‘musi as an ideal obj, weve, i "nt rented to 8 concep Scheme” (MMT 198) and cannot be grarped monotbetialy. Tt ‘nut always be grasped asa unique individual, ais work of music, th refrence is (actual or imagined) re-reatin inthe seis of Pjthedc acts which constuted a unique meaning. ML MUSICAL EXPERIENCE AS A BITE PROVINCE OF MEANING Tn ode ob abet study the experience of music we mus fret amine snd igo light tone enters wich character this | experience and thus dsinguish it rom other experiences, We must Stas whatitisthat makes theexperenceofmuse deren? What _ Bie strc he ite ith thee quetion the scope of investigation mist broaden to ince Sehut’sphosphcal Inquiry beyond the arrower oft experience af music, To be sure, Sct’ iovestiga-tions of the experience of music were subordinate to his primary Dhilsophicalimeest inthe stucere and constitution ote world ‘which taken for granted by all ous ino daily ie togeterin he ‘world. Within tis ager framework, sme ofthe insights ino le {res of mosial experience merely indiated inthe essays on msc are more fly elaborated 1m Sections 15 and 16 of “Fragments” Schutz presents an extremely condensed summary ofsomi of those fares characteris ti ofthe mosial experience—a presentation which presumably woul have heen considerably expanded had Schuts completed the ‘say, Forour purposes, wosldlike wo develop Sette’ suggestions by placing this easay on music (1914) in the larger context of ‘chutes thought as formulated in the essay “On Maltpe Realities” (194s)? Weshould thar beable tospawer our questions concerning the feacures which characterize the experience a us ‘According to Sch, the experience of music anumes a peclia snd character atte. He say ‘ean a Berens ming, haem cmscounes as camped Het ‘Swan ant pa comune PPM TS "This passage, which pinto the ae that the experience of mic it ‘made posible through the adoption of particular attade, brings {© our attention several important questions, whose answers ll, ‘enable st determine what ts that makes the experience of msi Sigue. We mast ask ow our attention to the eiginal ral 0 hich Schutz fee difers rom our attention tothe work of msi? ‘What isthe nature f the eransiion to the attitude peculiar he experience of matic? How i the transition achieved? "The adoption of theatvue peculiar the experience of music it frst made posible by suspension of tho eminently practel ences and interests which characterize the “paramosnt reali" of dally Lie. Schute here lies the Hussein comeept of "epoch" though admitedly in a manner diferent fom Huser. Shuts, Unite Harel, here understands the ephé not at = device oF retool procee ob consciously andeystematialy employed ' oe in order to give acces to the fed of investigation proper 10 Phenomenological analysis, i, consciousness and its covtelaes, Eihough for Sehute too it serves to delimit what is and ix not tematic [eis rather, the experience of uning oar attention say rom the everyday world and ts practical concer of changing the locus of attention by overooking elements that were previously thematic and the center of our concern, Following Kierkegaard, Sete applies the erm leap" or "shock" tothe ramitinal exper fence which leads tothe experience of music. We wl ind that what Thematic in the new experience dirs radically fm what was revue thematic and that the transition achieved by mane of Ai experience of reorientation How is such a subjective experience of reorientation achieved? ‘Thetransiion is accomplibed by means ofa suspenion of concerns ‘ot pertinent wo musical experience, but which tay have predom tated belorehand, eg, theoretical conceramy have dominated fr the centist at work as protcl concerns may have dominated fr the person engaged in caring a living Prom the examples which Schutz fers it sems thatthe anson can ocoue either passively Aad quite unintentionally, or atively asthe seal of a decison. To ‘lucida the two possible way in which his ransfrmation an be achieved we may compare the "shock o falling asleep a the leap int the world of dreams" wih the “radial change nour tite i {staing] before a painting, we permit our viral Eel 0 be inte, ty whats within the lame” (CP 1251). The experince of ling Ale and te corresponding transition to the world ef dreams isa instance of what Ihave termed a "pasive” transition. Ofcourse we an certainly make a resolve o got sleep, but it aways porble (except inthe case of insomnia) for ws to quite simply fl ato the Sate of sleep with no previos intention af doi 3, eg, while fading. We quite naturally make the tration to the world of | Gitams without any special efor or awareness of transiton. Quite erent, however, is our experience in a gallery in which we ave Gee to ee works of visual art Here we have an eample of 2 ‘Mansion whichis actively eced. Weradically change the focus of (iFatcation and we doso voluntarily andacively. Scots mentions function which the picture's ame plas in thi transition; howisso tue thatthe muscu or gly il srt of “SiEne” which anton to change the fac of arate. Upon ‘cing the galery th "iso for conacouanes changes We Solu ay aside the conrad atude which arcoperae within the everyday word The ply tel announces theft that ete something dierent ie equ Within what may bea ‘ule ordaay ullog, wefan ounces adoping an oxo ‘rainary and. We no longer concer ourslves with problems Stic might oral be the bum four tenon, eg, he hose Ts docs not wory ao beter the glided aad cleaned, Sedo thinkot the bung as weak fe bung where we Teor wet What an tents isthe inal expense of he lnings which are Gaplayed i the aly, We do hngs which etcate tne sited ee ofour attention: Wespeak in shed aces ‘Sid ntand ele the pitresconcnsting upon that which = ‘tual ofered, Te i of or aenion we creamaied by te Tame of the printing (when there ome) which gle eral crysis what eronent fom wh oan ewes ot {Bienion pon the val rma within boundar, ‘We coud iso show the diction between he passively and actly aroomplibed taceine or experince o “sock win vel of mosclexpenence Ae Scat pint ut "when the ‘ovductr seis thesudiene hs peromed alee ‘Shoe of Kierkepud rom one eve of consioanes to another” CFPM G13) Het the amon aly te votes cated {ut However, te uanidon cass Be involuntary achieved = hen msc un "eather myatenin igh rex Ting at ny weg abe worngon sna, wen suey me dam sey, the mae yg Be ‘ao. The focus omy ate sno longer directed upon my Ihde problems wi cht deat, tam now empl iso ithe muses cadets atthe ransom hasbeen ese insllo ee expen we hae spoken of anion for OM rs teapot ine en ‘Sure and ne waye i whch tny fer om one another Se tinting Willem amersconcepto-sb-anivrc rel in phoneme ce desiats thes elm aa “Eni _ sincrsofmeaning” (CP 1 220). Each ine province ofmesning Aepends upon andi characterized by a pec “cognitive stgle™ With respect to which tis iteraly consistent. To the coguitive le haracteristi of each province of teaaing belongs pl iy pny pc Spe fat “salty, and a specie time perspective (CP 1 282). ate Schutz investigate the nature several it provinces of man the modication ofthe meaning in passing fom one pone | notes and thei coreaponding cogs sein is cmay "Oo Malte Rel. 7 vo “Once the tanon to the new level of consciousness with ‘in in racer he al gris ben Sccompsied un ety ew experiential complex sought into ‘A Gis ie! otomaciuenes nmwe issn ree tert entre eae d ae naar sae taage st ts Sait zing to Schut, the province of musical meaning is cost lke verther ye hange nour ten fenscinnn {win rss fom ecg our action sway fee he serpy ie which's theatre or allourcxprenes 23) Th ick of coaciomesin to lnger geared acon, al compelled rele yn to change the by our working actions. or amie, when we need ¢ Fema, we have come tose bar what ake the stage We man eave nd or everyday concerns snd inning ofthe boscigh (ether indian oe et (acetate ater he awed th ation taking pce te) ante being the ‘work, we make the “leap” atc to the nt province of meaning of he dramas Te that we experience ime and spate diferent Province of meaning. We wtnes ation unflding onthe tage within space ad ime which, although representing the space and time in which our aesons ia the everyday world take ‘lace is distinctly diferent Theme and space ofthe action ofthe Scorson the stage isan imaginary” (Bergun) tne and spare, Le, {nein which we do ao actively participate, trate lv imagine ‘ely. Furthermore, as [become progressively involved us a Spee: iota the unlding ofthe course of evens othe drama, heats ‘are" Hamlet, his mothe, ee T watch ae the drama of thet Uses unflds yp the sage. Ars member af the suene, 1st called Upon to observe simply what apper belore me, Le to be a "spec would be completely out oF keeping with the dramatic province of meaning to suddenly tranagree ie boundaries and attempt to seve interede on Hamlet's brhal Within the province of mean ing of the experience ofthe dramatic work we are called upon a6 members ofthe audience tbe spectators, whos sch, bestow upon the dramatic work ts "accent of reality.” Within this province af ‘meaning our working actions (active iteration) ae inconsistent svith the set of experiences charscerac of this province, The di upton ofthe dramatic reality whieh would occur fa member fhe fudienc an onto the stage to warn Hamlet of plot agaist hie ie tings our attention the fandamental nonin ofthe world of ‘everyday lif, in which such an action would be interpreted at laudable deed, and the imaginary world of drama, in which such ‘cio is oof place and totally inconsistent with the province of meaning af he dramatic work. Active involvement would inter preted ax abeurd by the other members ofthe audience who ve ‘within the nit provine ofthe dram, in whic such active pate pation i foreign ‘Returning, however, to the musical province of mating, we furcher observe thatthe musi iself diets ur to accomplish the transition fom the province of meaning of everyday if otha of ‘musi. Thelistener makes the transition by giving hiaclfoverto he ‘musical Hox witht corresponding temporal experience. Ii he ature of thi experience of temporality and the relation of 8 {emporal experience to the musial theme and communication which occupies Schut's tention to the remaining secons of “Fragments” and in “Making Muse Together.” We shall consider thee topics ater one Binal observation concering the province of rusia meaning ‘chute delaer tha the phenomenological analysis of the work of ‘music must distegard, forthe moment, the peculiarities of given ruse cult in ie atemp to dacover tts chr men exper micas far cco PH “Tis however, does notmean thats phenomensogical analysis to Aisrogard the ole which the musical culture plays as “eame of eference” forthe actual experience uf musical work A Dbenomenslogicalanalsie would deal with musta cull with espe to its essential fneson (EPM $17), ‘The existence ofthis frame o rlerence provides ws with another ssect ofthe musical experience which airs rom that of everyday xpriences, thereby serving to farcher distinguish his enperience as Unique. Although Schutzony hints at his ditncion, we may lab. ate sorewhat inthe direction he india wit the ai of late ‘material contained inthe book Rf oh Prem of Rec, “the manuscript of which war begum three years afer tt on the Dsoomenology of music What Schute tats the stok of knows Tee at hand” inthe manuscript on relevance what es refering toa the “frame ofeferene” and "previous knowledge in "Frage ‘om the Phenomenology of Mu.” nb instances, the sedimentation of previous experiences con- what Schutz calls our “habitual Eowledge” (RPR 68), edge which remains unactivated and onthe margins or "hore "fou fi of consciousness until needed inthe cours ofurther riences. The activation ox bringing nt play of pariuer ele sof ths frame of reference isto be understood! in terms of of relevances" The elaboration of the specs of these | beyond the scope of this investigation, however, the tion of Schut's thought important fo ur purpoes Schute izes a Glowssimi in rv aie ou mink nd ew ied Entel te uaa ea in ha ak ‘coin oe "ie sina ii re eis {rete wi is ermng he etc oot ad aco ater ‘cnt dm he byte wich myth rch eee eae Teel races ao deere ig deh ncn ‘cr tres lsh ands ine Scemiatin fhe OAS cin ae Lewd PR) Tenis om ig Disses teeicene te rane sees cast et yar be orca y peteg metleteh ins ieny SEaresace Sd depo itn a eso or inerteaurerlgti piensa ashen Tse a eet aes Geto ieee cnr aieacninnoer ag pe Pee eeremeeererepererrtcic Srfoceeemsstec econ wl ay mtn ta seeing nie eae Borate nara hs ol ay oun pce caw Sete Zatacttinciged ihrer a {Gand ton hiner eps oma Inte ee Mer cea a oo ee in an Sash oes teak poet in lem eS Sa oa ee a ee Scan dimmed oe te wp ith ca ce nreie eipoisescce ince eae e cet on Fcc yom tats pl poe Serra ea heenattom a meaning to another, there is systems of relevance. correponding shit inthe prevaling ‘Schutz gives an indication ofthe function played by such sing “systems ofrelevances im Section 17 of "Fragments," Ae the musie ed in which chat which is typically relevant tothe mosial ‘athand is brought into play. Theliatener refers what hes 0 iencing toa stock of previously acquired knowledge which ant for giving meaning othe present experienc Ase tens the music unfold he brings pertinent material ram te horizons of conscious life into the now thematic musical Kernel. He hus to refer the present experience this knowledge of relevant ype le which wl give meaning to this parca experience These (ectational relevances” enable te latenertomake sense of he hat he hears. But what Schutecalle "peal bls wo amicipate that which will flow (RPR 58), The antcpates that the next movernet ofthe sonata to which he ing willbe a slow movement onthe bai ofhissequsitance Sonata frm ofthis period, withthe eomporer typical et of his sonatas, of, peels, even from his previous ofisteningtothis onata isle Im each of thee lstancet pations are to greater or lesser degree empty. ne eannotdeseribe in greater deta the nteray ofthe relevance, the establishment ofthe topialy rely and the various ways in which the motional levances itvorder and the "becauze” motives) are brug inte We atleast indieated hat each province oineaning hast ‘of reevancer. In the province of masial meaning the al Kernel determines ia wil be relevant to i experience of this parila pee of manic bringing into play of relevant material im previousexperience and this is determined by our “act interex” which a "urns fnctionofour presen situation (RPR 44), We do ot reer fur present experience of & work of msc to our Koowledge of finances or of grammatical fle. Int, ccoding to Shute, none ‘four spatial experiences is relevant fr the nterpetation of si ‘Thus, with his concep of system of televances and the relevant sock of knowledge at hand, Sete dstingvihes he usa enper fence ftom other experiences and brings to ovr attention anes feature of musial experience Iv, ELEMENTS OF THE MUSICAL EXPERINCE In Section 18of“Fragenets”Schut i musical experience thee clementeesentil 0 1) Musialexperene, according Schutz, “orgintes inthe fox finer time’ and doesnot, of neceatity, fe to he spatiotemporal ‘dimension. Musical meaning emerges fom our experiencing othe ‘unflding ofthe musical events nthe nner ine of ur conscous ie Musical experience, however, can refer inthe cae of dance tmusio—o actions inthe outer world and this posible, aeording to Schutz, because the comporer ilies hi ture lements in sich a way as to suggest movement and thus fo cordinae the “events within the spatiotemporal dimension with hose within the inner ime” (FPM §18, al CP 1218) 2" 2) Because the musical experience shares the flax ofthe stream ‘consciousness in simultanly” the meaning of this experience is tse upon the way in which meaning i conttuted through ‘tention and’ "reproduction," "protenton” and. “anti pation" in our stream of consciousness, If “only experience ‘which can be renlected beyond thei atwaty and which can be ‘questioned about her constitution ae. subjectively meaning (CP1210) then musical meaning emerges fom the Bux of i ‘unfolding in the stream ofconsioueness by means of » srturt ‘hich ublizes our ability to reall and antpate our eapeiences ee) ee ee 5) Finally, within the ux of ioner sme, the musical theme enenges ts what Shuts call "a unique configuration.” The theme, totic ithe "basi element ofall muse” is “experienced ab a stole” “The term “theme” at uted here should not be derstood in 3 aerow oF technical sense Although Schutz employs a melodic fzampl, characterise of Western musical culture, when dieueing the musial theme asa sequence of tones in Section 19 of "Frage nent" it man be realized that this only oe example. Ica Be uihered fom Schuta's charctertation that the tem “there” Thiers toastrutur or configuration which recurs and isidentable, faimits of being coebined with other themes, nad car undergo Iication and be recognized “a the same it modified” bythe Iigencr. Thus understood, Le, ar structure, theme can be formed pps series frye beat on a drum aswell bya sequence of A theme in thie broad sense i «structure through which the ‘experience of music in inner time is articulated, in 4 parteular ‘manner, a evidenced bythe lac that Schute does nat include Thytbical sructuralsation among the clments common to all ‘musical experience. Ifourimterpreaton ofthe theme a stuctre ‘recy, then Schutz iscorectin rejecting yt streeturing ae an tulitional clement commen w al musical experience. Rhythmic structure would represent merely «particular instance of structure In generl which isa necessary element ofall musialexpesience** ¥. music ano space _T8Scaton1of“Fragments” Schur explores a charcteritipeca of musical experince no explored ctr ofthe wo says hich appeared in alaed Paper I, vi, the rlatonship between sizaleperiene and the experience ofspace. The pecilarnare his rationship serves tourer characterize the mica exper nd to distinguish tom experiences of ther at forme‘Our enperence of space ir determined by te interplay, of ass Epacnbeticfanetions, by means of which the spatial Ged i Tee pa s continuum of perapectives, al of which refer (othe ae oP tpeimal accessibty.--the sphere of nearness with = RPM §i3)- Within this sphere of opsimal oe iol, Tam free to manipulate and tactually experince SSSI wih eapect to bape knaestbsas, and can visually eee ie eld with optimal serps with respect opie Sethi Te i alo poaibe within hit apere to re-experincs earns sorbate previous experiences. For example, upon aan ey oye pereive the ume desk and writing materials th Tha perceived before I coved my ee “Fhe emote apa elon Ue other hand, i experienced 38 posi eld of action wot objects Tay approach, or one whose tne may ener my manipulator sphere hough movement of eee isthe spa enim interpreted om the basis of previous sree Stace win the immediate manipsatory sphere as Bing the Same or sia. “Thus he coo of ac fe bck w ur Hea apse of hag icon ead ar co on wpe ‘cs tctmotan FPA. -Theartof pining, anartemploying as medium spatial elemen' ase ake bere way in which space is experience into sceoun sana thebeholer sat focsed upon a speci visual eld by racy nexpeienc of encounter withthe edges of margins ofthe ed eld (whether or ot tes boundarierareaceentoated bY Poem) 2 With this narrowing ofthe visual eld tote pated aoe painted objets and thee arrangement beeome sheratt rar ase incned wo investigate the palnted space, cet) ree alc a manner determined to barge degres by that cement of egy Dp means of perapetive, color tine, AP Fae Srp of tbe manner in which a pinter can neue eer cd apse, slxing onl eoexient nd immovable mage a in thc oculomatrie movement athe bebelder © orto rae eee Sacln epeedetermined manner fund i portent of Velsgues ‘Normally, ofcourse, the arrangement ofthe peep eld isnot ge tematic. Veldsquer,bowever, made this straightorward vi seats esence thematic by capesting it and presenting it in 6 sa Gog When we lok atagivenebiect fore wesw Fae day that optimally lear and dint. However, he ara in Toad aren includes many otber objets, which tosh form the sal Bld. These objects ae inloed ba ae Toei peed since they ae erally wot he ss of cae Te ergs ofthe vinual fld and thr corresponding Bear bier into one another, are “fary” and only indistinctly eee able. Veligue paintings acta hat sing pepetvg Tue yh ae, by wing hr man ear peisonganied to rake ws adopt particular perspec Teen ks poral, whether ofan person or af groupof peep, von pasted everything with elerence to gle fal poi. se yng otside ofthis fica! ponte presented i varying iofiniacnen Ina fall eng portatin which the focal Sethe ail area, fr example, the res of dhe body as well 8 Seta he sal eld are lio present. But we cre or a fom he al pin to some ater area ofthe painted Pace SGacoves «degree of nisintoess which snot characteristic of tapeience ofthe visual fl of optimal sbarpoes. Despite all nc bcholder snot able bring this painted space nto foes, this incompleteness (his not quite”) cites bi gare to OVE fhe printed space in seach of vsual complesion. The art of czy in capearingomcatvae x single act of pereeption with ot and orion of indatnctnes. He was both able to ‘he way in which we normal see things and to make use of inhi we see things to make usSee what he intended is not the only art form employing spatial element ture tod selpture ae alo dacanwed by Schutz a art fos iy rete backf hore Kinaesthetic activites in MF epace is at constituted. Two features of HE the arts wing spatial clement shold be mentioned. each ofthese at, by performing certain Kinaatelic 2%, te nocaperence a given spatial clement ab te "sameclement previo expericned. Toe re although exch afm Utlizs spatial cementina diferent manner tone the bekeder ‘perform and re-perorm various visual ace and locomotive Kinaeshesian he experienced ett isthe same. The coexistent spatial clement are experienced in a sucrson of departres and Fetus tthe sume clement, thereby ereting the impreson of Arythmicrecurenceandeven movement Tiss posible ctor ing Schts, because the Linaethesian which consi the spa field are expeiened inthe fox of Inner time (FPM §19) The ‘presi af movement results om the at tha che pyc acts ‘in which the spat elds ist constted ae experienced sees sively in ner tme. Secondly, Schutz notes thatthe spatal held Allows of enonthekally grasped and that this msde of recog nition i fandamental fr the spatal experience of sameness, Tht rnc fh ping cose al len ‘characterized bythe possi of monotheierecogiton of ame nest Altlough the loment may he experienced sucess, thereby erating the impression of movement, nT spaia le ‘ments cadure andar always alae trough the epeormance cf various Kinsesthesa, in which no new proce emai ‘ered, The coexistent spatial elements remain avaiable tobe raped a «whole in submeqoent place of experience ‘Upon examining musical experence, however, Schie nds 8 completely diferent sto experiential fates Fetch fv enpriecs canted! met he sy Linn ‘tail wpe denn oye EMG ‘The apparent absence of spat strstr” in the acoustical ili not mitigated, according to Shuts, bythe fact thatthe ear does provide a certain orientation ato the source os percsved sound of Dy the fet shat the nereate and decent in the value of = given ‘séund can indicate spatial distance, These scour properties 2 tot alone give re To the experience of "sane" by rly upon “preonsiuted spatial experiences which were not prey sui ones” (FPM $13) Furthermore the eat has no meansfor withdraw fing temporary frm the acoustical fed, inorder wo return at ater point in tne, The eae i always avaiable ro acoustic impressions. Tus recurrence by means ofthe re-performance of Kinaestetic Aetivies, fundamental fr the experience of sameness inthe as thlcing spatial elements plays no role in prey acoustieal ex nce, Stutz concludes, dherlore thatthe experience of Python fn pttern in mesic i independent of patil experience and that nus must necessarily employ a diferent meane to achieve the Experience of rythm, sameness, and pater. YL MUSICAL XPERIENCE AND THE TEMPORAL ELEMENT ‘The dtical question of the temporal clement in musical experience rst now be considered, adiacunsion central to both "Fragments” 14 "Making Music Together." In the later esay Schutz defines Imusic a “a meaningfl arrangement of tones in inner time” [MMT 170), and goes on wo contrast the “inner ine ofthe work of Inusi with the “outer time” characterise of the means of cont Iunietingmosic in an attempt toca his lai that the work of tusiomthe ideal ubjet—pertaas exclusively to the realm of ner time. The contrast bewen the work of music ax an ial object snd te means ofits communication, between the deal objet snd the real” object upon which tis Nounded,” continued inthe present entest in terms of a cantrat between inner and oater tine. sould suggest that Schts'senie discussion of temporality i “understandable only if we understand what Schut means whea he Sprals about music, ie, when we recall once again what the iesomcoolgel approach dels wth, In Section T we conladed thatthe phenomenology of music deals with mic aH apear 1 scl conscioumness, ar snintetional correlate. In Section I, en the eal are of musical meaning was discussed, was said spare and ame as ordinarily thought of are ot involved when t fo grasping an ideal objec. Schut's use of the erm ‘tst be underioed within thi eanework. ‘Furthermore, i should be recalled that aesthetic conscousnesthas a its cortlate an entire province of meaning, i the word of| ar, within which the province (sb-provinee) of mia! meaning Finds its pace. The world of art contains many dierent art fos, and Scat, awe have acen inthe las sctiony has attempted 1 esrb some af the pecliares of mise, which he maintains tssenilly temporal, over againt thowe arte wiliing spatial le ‘ments. [nthe present contest the important point i that cach Drovince of meaning, including that of music x "a spec tme perspective” (GP 1232) and i i the time pecans to the mutica province of meaning and musicalexperene that Schits props o Study in his essays on mane. "Theme of music considered a it ppeats to musical conscious ness, is inner time" Schut characterizes inner time in agreement with the dstineton awn by Huser between the unchanging and Alvisible outer experience and the indivi, permanent Bix of lnser experience Inner me, the time five experienc, com pletely fe from spatial element These fou wating he ne thin hich we rome then Kime fe ‘team occ, ay te he of se (AM Inne imei “lived though,” and ths cannot be either divided or ‘measured. Ths, the listener Ives “while listening, in another dimension of time which cannot be measured by our clack rater ‘mechanical devies” (FPM $14; abo MMT 171), For example although th clock upon the wall may measure dhe passage of «similar amount of time inthe casein which we wat “anxouly to receive the outeome of major surgery upon sme we loveandin the ease where we eagerly ica an axe of vial terest with end, we do notaprious these ime intervals as equivalent. Inthe first example, we say thatthe sie "dragged on” and in the ond tha the tne “ew by.” There no way in which the ie ‘hich we experience can be measured ie smply lived through. Tnorder be shared or eommunicated, however our experience ote must find some expresion in the outer world, ke tamu founded This czars when we “projet into space” (EPA $14) out ‘experience in ane me Inner experience thus comes tobe coor ated with events in the world, Through such coordination inner tine becomes available fr measurement a terms of motion which | graveris spatial intervals, Thin“ projected” time ithe “outer time” tech Schuts peas of asthe “dimension in which or actions ake ce, the dimension which we share with our flowmen” {GPs §1). This outer cme is avallbl fr further abstraction and an be transformed int the “time of he physicist." The apparent eminity of te proces of absiracon, however, should no be lowed 0 obscure the fundamental difernce between ner tne tdi projected” counterpart. "Tvs rine tne has onl Been negatively characterized in terms of hw it ifr roms outer time, Schut's postive character thon of nner time is heal dependent upon the accounts of Huser! and Bergson as well a upon that of Wiliam James. He Akeratl refers to nner time at immanent ime,” the “dé, tnd the "stream afconsousnes, From James, Sete takes an Aimphasis upon the ow of conscous Ie and the concep of the Spacious present in James's interpretation. From Bergoo, he apis the ences of 1) a dure fe from spatial elements and 2) the “tensions of eomacous ie rom Huser, Schut takes the detailed and arf structural ana Inssof the stream of conscious lien onder to shove how this ie Iegrated into an unbroken steam of experience ‘Acording 1 Seitz, we experience our ier if as unbroken, Ao ofimerilatedexperences The "Now" o presents character Jae asthe dine of our immediate experiences. The pas, however, ahoavalable wo usin the orm of completed experiences in which we " Folanger immediately “lve” but which can become the objects of __thereiecive mode ofexperencewhichwecall"memory Sand intereated sequel of our thoughts in inne cme” PM $14). Pas, completed experiences donot disappear entirely, they are {in present experience through the performance of act of lectin. ‘The recollection of past Nov, however, dos not the past to ite former sat of being present. The recollected 8 modified by the perspective ofeach succeeding Now in which4c incorporated asthe objet ofthe present at of clleton No further ent posible these to the pt ny we eannot liven” the pst wed in our preencapertencso aes Ths she past cannot be ard eso nl a pose eet whe DWctent experience ean reeivey dtc el aden way, The changing Hx ofconsciouif and the drone even the as al the preset ae alu evidence hat there a defn su {are toonsoumnes Been ofthsrctute lt makes irene whether the objeto ou thoughts presen experince, eer thee a recoleed or expenened ts previa recollected ich act the same object "bu the sue bjt as mdi” {FPM G14), i either immediately experienced tr rexpesnced Modiations abo originate im continually diferent Fceances operative within each actual Now. New stereo reevance ting othe egound nev ate te pas Schite distinguishes beeen two type memory Firs heres the nerelation af present experience withthe eaperienee whch inmediately proceeded it “Althovgh i sinks tne the pas, the sual experienc sl tine, and thereto, the hen ‘as been used lor thie spec pe ol remcrnbrance” (FPA #4) Receton is epeilly important or muse Because it eps to ‘plan ows sntaied fot con be enperenced witout nterup ton at an object ince in sccm Nowe ach soceeding Now there is both the presen experience ofthe sustained tone ad theconprset retention ofthe edit pus experince fis ‘ime toe, A second orm of ells, caledepodaton rs {0 pasts ot mediately contigs wih present epee Les ‘esto the more remote part Bath enon and reroduton ae ruil the experince of + msieal work 44 mangle ence o tesa we sal see Imer experience eal another dimension inner sme equally important for moral experienc; namey ts foucaientaon ‘The frre tthe everpresen lament of capectaion that aoe pies al of oor presen experience, Sloe bye dre te en mc ond 7M 9) * a “Ths the futures tobe understond at an clement ofexpectation and percendedness which accompanies all on-going experience. Te hemptySeldofexpeeation, bat too, haa stractere, That which sre exper, r dependent upon the “types” of relevant occurrences fom our past and upon the assumption that such tyes willeoninve to prevallin the future, That we have no guarante fortis assump tim niente that the Suture indeed the empty (erly possible) field of expectations Past objects of praen experience om the ote Juan, are not "empey"—"they were what they were” (FPM 814). ‘The past is characteried by its definiteness and, although I may inadequately or wrongly ecal he pst, dese completed experiences reas pst “finite and deinitive” (Corresponding tothe two fran of memory ae two Sores of expectation: poet and anticpation. Protentions are expectation ofthe immediate tre and are contrasted with what Schutz ells “anticipation,” which ae of the more distant future. Ae Schute Jngicates, the expected course of those events which ae objects of [proentons are more likely to be filled than those which are sje of our anticipation. higher degre ofindeterminatenes fetciated withthe remote future ‘The forms ofmemory and expectation, thus playa decisive olen ncerrelting the various forms of our experiences into the unbroken Ax of eonscous le, Schutz concludes his discussion ofthe temporal element a music vith a consideration ofthe present. The contin ofthe How of oH" liner experience of time, s+ opposed to spataized tine, whose ‘rstaye is measured as distance traversed between certain pits ‘ace, shows tat the notion ofthe duratoples presenti unaecept abl. Such "Lnfeedge” iatant is an abstraction which does ot accord with our experience ofthe succession of expeiencngs in Jer tine. We experiences contin in our conscious if sod thi | continsty an only be accomplished within he presenta the eld of Those experiences that we lve i. | Besnidrarat apa rcrhing tata hh iin Shncra csc ce Net ee ‘aig he by ey a ren aad sine (PAT) ‘The stactre of the present, the degree to which the past ix