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Studies in Music with Text$
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David Lewin

Print publication date: 2006

Print ISBN-13: 9780195182088

Published to Oxford Scholarship Online: October 2011

DOI: 10.1093/acprof:oso/9780195182088.001.0001

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Music Theory, Phenomenology, and Modes of Perception

Music Theory, Phenomenology, and Modes of Perception

Chapter:
(p.52) (p.53) Chapter Four Music Theory, Phenomenology, and Modes of Perception
Source:
Studies in Music with Text
Author(s):

David Lewin

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780195182088.003.0004

The overtly phenomenological study of music in Edmund Husserl's sense begins with the man himself, who made central to his theories of perception a famous analysis for perceiving a sustained tone. That analysis is highlighted by Izchak Miller in a recent philosophical commentary. Miller also devotes much attention to “Husserl's Account of Perceiving a Melody.” This discussion, which includes an account of listening to the opening theme from Wolfgang Amadeus Mozart's Clarinet Concerto, does not itself invoke sophisticated music-theoretical apparatus. Thomas Clifton also explored the phenomenology of music theory. It is not clear what a “theory of music” might be, or even a “theory of modern Western art-music,” but it so far includes a theory of musical perception and people's “musical behavior,” a category that includes competent listening to be sure, but also competent production and performance.

Keywords:   Edmund Husserl, music, phenomenology, music theory, musical perception, listening, Izchak Miller, production, performance, Mozart

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