Lochhead Phenomenology

Phenomenological Approaches to the Analysis of Music: Report from Binghamton
Author(s): Judy Lochhead

Source: Theory and Practice , 1986, Vol. 11 (1986), pp. 9-13
Published by: Music Theory Society of New York State
Stable URL: https://www.jstor.org/stable/41054204
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide
range of content in a trusted digital archive. We use information technology and tools to increase productivity and
facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at
https://about.jstor.org/terms
Music Theory Society of New York State is collaborating with JSTOR to digitize, preserve and
extend access to Theory and Practice
This content downloaded from

128.195.72.180 on Mon, 04 Jan 2021 20:29:32 UTC
All use subject to https://about.jstor.org/terms
9
PHENOMENOLOGICAL APPROACHES TO THE ANALYSIS OF MUSIC
Report from Binghamton

by Judy Lochhead
The study of music based on the concepts and methods of phenomenological

philosophy is a relatively recent development within both music theory and
musicology, and the occurrence of a special session devoted to this topic
at the 1986 meeting of MTSNYS indicates its growing importance. Since
phenomenology as a basis for music study is a new development, one might
well expect the state of research in this field to be npre-paradigmaticlf in
Kuhn 's sense. The range and variety of papers delivered during the session
confirmed that expectation. There was indeed an intensity and excitement
in the ideas presented by the speakers that attested to the exploration of
new paradigms.
While the three central papers of the program (by Brodhead, Atcherson, and
Justin) presented a variety of approaches , there was a similarity among
them owing to their shared philosophical base - that of phenomenology.
The primary focus of a phenomenological approach is the human experience of
music. To a greater or lesser extent, many analytic approaches are
nowadays concerned with the experience of music. The phenomenological
approach is, however, explicitly and strongly focused on music as a heard
phenomenon, as something that has existential structure and meaning. While
a concern with music as heard or experienced seems at first a simple claim,
its consequences are considerable. For instance, what is the status of the
score with respect to a "heard phenomenon," what role do our theoretical
notions about music play in our experience of it, what is the piece -- the
heard music or the score, and what analytic methods may be used to study a
sounding phenomenon?
Although the phenomenological approach generates new questions, it also

provides answers to existing questions. For example, recent music often
poses problems for the analyst or critic because it resists the received
categories of musical structure or because it doesn't have a score. A
phenomenological approach to analysis provides some workable solutions to
these problems. And further, the approach has proven interesting and
fruitful for other, more traditional bodies of music; applied to this
music, a phenomenological approach offers a fresh perspective.
In order for interested readers to pursue the ideas of phenomenology and

how they have been or may be applied to music, a selected bibliography is
given below. I have chosen those works which are most pertinent to a music
scholar learning the field. Also included are some references to "reader
response" theory in literary criticism as an instance of a parallel
development in another discipline.

128.195.72.180 on Mon, 04 Jan 2021 20:29:32 UTC
10
BIBLIOGRAPHY
I . Phenomenology
Casey, Edward. Imagining: A Phenomenological Study. Bloomington,

Ind.: Indiana University Press, 1976.
Indiana University Press, 1987.
Duf renne, Mikel. The Phenomenology of Aesthetic Experience.

Translated by E. Casey. Evanston, 111.: Northwestern University
Press, 1973.
Gadamer, Hans-Georg. Truth and Method. Translated by

Garrett Borden and Wm. Glen-Doepel. New York: Seabury Press,
1975.
Heelan, Patrick. "Horizon, Objectivity, and Reality in the Physical

Sciences •" International Philosophical Quarterly VII
(1967):375-412.
Heidegger, Martin. Being and Time. Translated by J. Macquarrie and E.

Robinson. New York: Harper and Row, 1962.
Husserl, Edmund. The Phenomenology of Internal Time Consciousness .

Translated by J. Churchill. Bloomington, Ind.: Indiana
University Press, 1964.
Translated by W. R. Boyce Gibson. New York: Collier Books, 1975.
Ihde, Don. Listening and Voice: -A Phenomenology £f Sound. Athens,

Ohio: Ohio University Press, 1976.
1977.
University of New York Press, 1986.
Merleau-Ponty, Maurice. Phenomenology of Perception. Translated by

C. Smith. London: Rout ledge & Kegan Paul, 1978.
Miller, Izchak. Husserl, Perception, and Temporal Awareness.

Cambridge, Mass.: MIT Press, 1984.
Palmer, Richard E. Hermeneutics. Evanston, 111.: Northwestern

Sherover, Charles M. Kant, Heidegger and Time. Bloomington, Ind.:

Indiana University Press, 1971

128.195.72.180 on Mon, 04 Jan 2021 20:29:32 UTC
11
Zaner, Richard. The Way of Phenomenology ; Criticism as a

Philosophical Discipline. New York: Pegasus, 1970.
II. Music
Batstone, Philip. "Musical Analysis as Phenomenology.11 Perspectives

in New Music 7/2 (1969) :94-110.
Clifton, Thomas. "Music and the A Priori." Journal of Music Theory

17 (1973):66-85.
Descriptions of Music." Journal of Music Theory 19/1 (1975):

66-110.
Quarterly 62/2 (1976) :163-81.
Phenomenology . New Haven: Yale University Press, 1983.

Reviews:
Nicholas Cook. Music Analysis 2/3 ( 1983 ) :291-294.
J. Lochhead. Journal of Musicology IV/3 ( 1985-86) : 355-364.
Charles J. Smith. Music Theory Spectrum 7 ( 1985) : 207-213.
F. Joseph Smith. Journal of Musicological Research 7/4
( 1987 ) : forthcoming •
Ferrara, Lawrence. "Phenomenology as a Tool for Music

Analysis." Musical Quarterly 70/3 (1984) : 355-73.
Green, David. Temporal Processes in Beethoven's Music. New York:

Gordon and Breach, 1982.
and Breach, 1984.
Greer, T. A. "Listening as Intuiting: A critique of Clifton's theory

of intuitive description." In Theory Only 7/7,8 (1984):3-21.
Hasty, Christopher. "Rhythm in Post-Tonal Music: Preliminary

Questions of Duration and Motion." Journal of Music Theory 25/2
(1981):183-216.
Kramer, Jonathan. "Moment Form In Twentieth Century Music." Musical

Quarterly 64/2 ( 1978 ): 177-194.
(1981):539-556.
Lerdahl, Fred and Jackendoff , Ray. A Generative Theory of Tonal

Music. Mass.: MIT Press, 1983.

128.195.72.180 on Mon, 04 Jan 2021 20:29:32 UTC
i;
Lewin, David« "Some Investigations into Foreground Rhythmic and

Metric Patterning.11 In Music Theory: Special Topics , edited by
R. Browne. New York: Academic Press, 1981.
Music Perception 3/4 ( 1986 ) :327-392.
Lochhead, Judy. "The Temporal in Beethoven's Op. 135: When are ends
beginnings?" In Theory Only 4/7 (1979): 3-30.
Theory Review III/3 ( 1980) : 18-27.
Movement of the 'Eroica1." Theory and Practice 5/2 ( 1980) : 32-39.
Phenomenological Investigation." Ph.D. dissertation, SUNY at

Stony Brook, 1982.
Newcomb, Anthony. "Those Images That Yet Fresh Images Beget."

Journal o£ Musicology II/3 ( 1983 ) :227-245.
614-643.
Rowell, Lewis. "The Subconscious Language of Musical Time." Music

Theory Spectrum 1 ( 1979 ) :96-106.
Smith, F. Joseph. In, Search of Musical Method. New York: Gordon and
Breach Science Publishers, 1976.
Phenomenology of Music. New York: Gordon and Breach, 1979.
Stockhausen, Karlheinz. "Structure and Experiential Time."

Translated by L. Black. Die Reihe 2 ( 1959) :64-74.
III. Literary Criticism
Eco, Umberto. The Role of the Reader. Bloommgton, Ind.: University

of Indiana Press, 1979.
Fish, Stanley. Is There ¿ Text in this Class? Cambridge, Mass.:

Harvard University Press, 1980.
Hirsch, E. D. Validity in Interpretation. New Haven, Conn.: Yale

Iser, Wolfgang. The Implied Reader. Baltimore, Md.: Johns Hopkins


128.195.72.180 on Mon, 04 Jan 2021 20:29:32 UTC
13
Suleiman, Susan R. and Crosman, Inge, eds. The Reader in the Text,
Princeton, N.J.: Princeton University Press, 1980.
Tompkins, Jane P., ed. Reader-Response Criticism. Baltimore, Md.:

Johns Hopkins University Press, 1980.

128.195.72.180 on Mon, 04 Jan 2021 20:29:32 UTC

Lochhead Phenomenology

Uploaded by

Copyright:

Available Formats

Lochhead Phenomenology

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Lochhead Phenomenology

Uploaded by

Copyright:

Available Formats

Phenomenological Approaches to the Analysis of Music: Report from Binghamton

Author(s): Judy Lochhead

Stable URL: https://www.jstor.org/stable/41054204

This content downloaded from

PHENOMENOLOGICAL APPROACHES TO THE ANALYSIS OF MUSIC

Report from Binghamton

The study of music based on the concepts and methods of phenomenological

Although the phenomenological approach generates new questions, it also

In order for interested readers to pursue the ideas of phenomenology and

This content downloaded from

Casey, Edward. Imagining: A Phenomenological Study. Bloomington,

Indiana University Press, 1987.

Duf renne, Mikel. The Phenomenology of Aesthetic Experience.

Gadamer, Hans-Georg. Truth and Method. Translated by

Heelan, Patrick. "Horizon, Objectivity, and Reality in the Physical

Heidegger, Martin. Being and Time. Translated by J. Macquarrie and E.

Husserl, Edmund. The Phenomenology of Internal Time Consciousness .

Translated by W. R. Boyce Gibson. New York: Collier Books, 1975.

Ihde, Don. Listening and Voice: -A Phenomenology £f Sound. Athens,

University of New York Press, 1986.

Merleau-Ponty, Maurice. Phenomenology of Perception. Translated by

Miller, Izchak. Husserl, Perception, and Temporal Awareness.

Palmer, Richard E. Hermeneutics. Evanston, 111.: Northwestern

Sherover, Charles M. Kant, Heidegger and Time. Bloomington, Ind.:

This content downloaded from

Zaner, Richard. The Way of Phenomenology ; Criticism as a

Batstone, Philip. "Musical Analysis as Phenomenology.11 Perspectives

Clifton, Thomas. "Music and the A Priori." Journal of Music Theory

Descriptions of Music." Journal of Music Theory 19/1 (1975):

Quarterly 62/2 (1976) :163-81.

Phenomenology . New Haven: Yale University Press, 1983.

Ferrara, Lawrence. "Phenomenology as a Tool for Music

Green, David. Temporal Processes in Beethoven's Music. New York:

and Breach, 1984.

Greer, T. A. "Listening as Intuiting: A critique of Clifton's theory

Hasty, Christopher. "Rhythm in Post-Tonal Music: Preliminary

Kramer, Jonathan. "Moment Form In Twentieth Century Music." Musical

Lerdahl, Fred and Jackendoff , Ray. A Generative Theory of Tonal

This content downloaded from

Lewin, David« "Some Investigations into Foreground Rhythmic and

Music Perception 3/4 ( 1986 ) :327-392.

Theory Review III/3 ( 1980) : 18-27.

Movement of the 'Eroica1." Theory and Practice 5/2 ( 1980) : 32-39.

Phenomenological Investigation." Ph.D. dissertation, SUNY at

Newcomb, Anthony. "Those Images That Yet Fresh Images Beget."

Rowell, Lewis. "The Subconscious Language of Musical Time." Music

Phenomenology of Music. New York: Gordon and Breach, 1979.

Stockhausen, Karlheinz. "Structure and Experiential Time."

III. Literary Criticism

Eco, Umberto. The Role of the Reader. Bloommgton, Ind.: University

Fish, Stanley. Is There ¿ Text in this Class? Cambridge, Mass.:

Hirsch, E. D. Validity in Interpretation. New Haven, Conn.: Yale

Iser, Wolfgang. The Implied Reader. Baltimore, Md.: Johns Hopkins

This content downloaded from

Tompkins, Jane P., ed. Reader-Response Criticism. Baltimore, Md.:

This content downloaded from

You might also like