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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

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

David Lewin

Oxford University Press

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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