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Phenomenology, Culture, and Ethnomusicology in Conversation J Marquette University e-Publications@Marquette Dissertations (2009 -) Dissertations, Theses, and Professional Projects Towards a Philosophy of the Musical Experience: Phenomenology, Culture, and Ethnomusicology in Conversation J. Tyler Friedman Marquette University Recommended Citation Friedman, J. Tyler, "Towards a Philosophy of the Musical Experience: Phenomenology, Culture, and Ethnomusicology in Conversation" (2019). Dissertations (2009 -). 828. https://epublications.marquette.edu/dissertations_mu/828 TOWARDS A PHILOSOPHY OF THE MUSICAL EXPERIENCE: CULTURE, PHENOMENOLOGY AND ETHNOMUSICOLOGY IN CONVERSATION by J Tyler Friedman, B.A., B.S., M.A. A Dissertation submitted to the Faculty of the Graduate School, Marquette University, in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Milwaukee, Wisconsin May 2019 ABSTRACT TOWARDS A PHILOSOPHY OF THE MUSICAL EXPERIENCE: CULTURE, PHENOMENOLOGY AND ETHNOMUSICOLOGY IN CONVERSATION J Tyler Friedman, B.A., B.S., M.A. Marquette University, 2018 This dissertation engages the questions and methodologies of phenomenology, the philosophy of culture, the philosophy of music and ethnomusicology in order to investigate the significance of music in human life. The systematic orientation of Ernst Cassirer’s philosophy of symbolic forms provides the overarching framework that positions the approach in chapter one. Following Cassirer, art in general and music in particular are not regarded as enjoyable yet dispensable pastimes, but rather as fundamental ways of experiencing the world as intuitive forms and sensations. Establishing the ontological significance of music entails unpacking the sui generis experience of time, space and subjectivity that characterize the musical experience. Phenomenology, in particular the thought of Alfred Schütz, provides a point of departure for thinking more concretely about the musical experience. The turn to phenomenology is motivated both by its systematic consanguinuity with Cassirer’s project as well as its insistent focus on the details of lived experience. However, bolstered by what is argued to be a more holistic description of the musical experience gleaned from the work of ethnomusicologists, Schütz’s phenomenological account of the music is challenged on a number of key issues such as music’s ontological status and the tendency to equate “music” with “musical works.” Despite the blind spots of his writings on music, Schütz’s phenomenology of the social world proves to be a useful framework for thinking about the multiplicity of ways in which music is experienced as meaningful and how the equivocality of the concept of musical meaning brings the social nature of the musical experience into view. Sociality also figures into a discussion of improvisation, an important theme that has only relatively recently begun to receive philosophical attention. Arguing that an adequate philosophical treatment of music must account for both the variety of musical cultures as well as the variety of musical practices, a consideration of improvisation helps philosophy think outside of the work-paradigm that was critiqued in chapter two. By incorporating ethnomusicological theory and ethnographies as well as downplayed musical practices like improvisation, this dissertation offers an enriched account of the ways that music shapes human life. i ACKNOWLEDGMENTS J Tyler Friedman, B.A., B.S., M.A. A great many individuals and institutions supported the writing of this dissertation on a personal and profession level. I am grateful to my Doktorvater Professor Pol Vandevelde for his guidance, patience and always-prompt feedback. Many thanks go to Professor Sebastian Luft for his unstinting professional support and friendship. Professor Timothy Rice contributed his invaluable ethnomusicological expertise and graciously served as an outside reader on my committee. I am also grateful to Professors Curtis Carter and Javier Ibáñez-Noé for serving on my committee and for seminars offered over the past few years, which enriched my understanding of aesthetics and nineteenth century German thought respectively. I would like to thank the Cyril E. Smith Trust Smith Family Fellowship for underwriting my research during the 2016-17 academic year. The Smith Fellowship allowed me to travel to the Beinecke Archives at Yale University where I had access to unpublished works by both Alfred Schütz and Ernst Cassirer, which figure importantly into chapter one. A quarter spent at UCLA also would not have come to pass without the munificence of the Smith Fellowship. It was at UCLA that much of the groundwork in ethnomusicology was laid, which I consider to be perhaps this dissertation’s chief contribution to scholarship in the philosophy of music. The Arthur J. Schmitt Leadership Fellows Program generously supported the writing of this dissertation during the 2017-2018 academic year. The ability to focus on writing and research afforded by both the Smith and Schmitt Fellowships is a great honor for which I am deeply thankful. Were it not for such support I am sure that both this dissertation and I would doubtless have suffered more than was necessary. ii Finally, I would like to thank my family and friends for their roles in the completion of this dissertation, whether by lending a sympathetic ear or helping to hold the world at bay so that I might live the privileged existence of the vita contemplativa. iii TABLE OF CONTENTS ACKNOWLEDGMENTS…………………………………………………………………………i INTRODUCTION………………………………………………………………………………...1 CHAPTER ONE: CASSIRER’S CRITIQUE OF CULTURE AND THE POSITION OF ART.15 1. From a Critique of Reason to a Critique of Culture: the Idealistic Approach…….............16 2. A Kaleidoscopic View of the Human Being: the Philosophical-Anthropological Approach…..............................................................................................................................24 3. Art as a Symbolic Form…………………………………………………………...............30 3a. Space in (Visual) Art……………………………………………………………..38 3b. Space in Music…………………………………………………………………...53 3c. Skeptical Conceptions of Space in Music………………………………………..56 3d. Critique of Skeptical Conceptions of Space in Music…………………………...62 4. Time in Art………………………………………………………………………...............69 4a. Time in Visual Art……………………………………………………………….71 4b. Time in Music……………………………………………………………………73 5. Symbolic Forms and the Experience of Subjectivity………………………………...........78 5a. Music as a Life Form…………………………………………………………….79 6. Thinking in Music…………………………………………………………………............83 7. Conclusion…………………………………………………………………………...........89 CHAPTER TWO: THE PHENOMENOLOGY OF MUSIC: A HISTORICAL OVERVIEW AND ETHNOMUSICOLOGICAL CRITIQUE………………………………………………....91 1. Alfred Schütz’s Essays on Music…………………………………………………............93 1a. Schütz’s Ontology of Music………………………………………………….......94 1b. Schütz’s Account of the Musical Experience…………………………………..104 iv 2. Critique of the Phenomenological Ontology of Music……………………………..........115 2a. Critique of Phenomenology’s “Digital” Ontology……………………………...115 3. Critique of Work-Paradigm………………………………………………………...........124 3a. Historical Contingency of Work-Paradigm…………………………………….124 3b. Conceptualizing Music Beyond the Work-Paradigm…………………………..130 4. Consequences for the Phenomenological Account of the Musical Experience…….........138 5. Conclusion………………………………………………………………………….........145 CHAPTER THREE: MUSICAL MEANING, MUSICAL UNIVERSALS AND THE RECIPROCAL BENEFITS OF ETHNOMUSICOLOGY, PHENOMENOLOGY AND THE PHILOSOPHY OF MUSIC……………………………………………………………….........147 1. Distinctions Pertaining to Meaning………………………………………………...........148 1a. Subjective Versus Objective Meaning………………………………………….148 1b. Merely Perceptual/Phenomenological Object Versus Socio-Cultural Object….150 1c. Object Versus Activity………………………………………………………….151 2. Subjective Meaning of Music Qua Merely Perceptual Product…………………….........153 3. Objective Meaning of Music Qua Merely Perceptual Object………………………........158 4. Subjective Meaning of Music Qua Socio-Cultural Object…………………………........160 4a. Finite Province of Meaning Correlated to Socio-Cultural Music in General…..161 4b. Peter Kivy on Pure Music………………………………………………………162 4c. The Concept of Appresentation………………………………………………...168 5. Objective Meaning of Music Qua Socio-Cultural Object…………………………..........173 6. Subjective Meaning of Music Qua ‘Merely Perceptual’ (Formal) Activity………..........174 6a. Schütz on the Concept of Action……………………………………………….175 6b. “Problems” Pertaining to the Relation of Schütz’s Concept of Action and Meaning……………………………………………………….................................180 v 7. Objective Meaning of Music Qua ‘Merely Perceptual’ (Formal) Activity………...........182 8. Subjective Meaning of Music Qua Socio-Cultural Activity………………………..........183 8a. Finite Province of Meaning Correlated to the Activity of Music………………183 8b. Functions of Music……………………………………………………………..184 9. Objective Meaning of Music Qua Socio-Cultural Activity………………………...........187 10. Ethnomusicology and the Reciprocal Advantages of Philosophizing About Music.......188 11. Conclusion………………………………………………………………………….......201 CHAPTER FOUR: TOWARDS A PHENOMENOLOGY OF IMPROVISATION………………………..................................................................................203 1. What is Improvisation?......................................................................................................204 2. The Pedagogy of Improvisation…………………………………………………….........210 3. Improvisation and Composition…………………………………………………….........216
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