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Roman Ingarden and His Times Roman Ingarden and His Times ROMAN INGARDEN AND HIS TIMES ROMAN INGARDEN AND HIS TIMES edited by Dominika Czakon Natalia Anna Michna Leszek Sosnowski Krakow 2020 © Copyright by Wydzial Filozoficzny UJ and Dominika Czakon, Natalia Anna Michna, Leszek Sosnowski, Krakow 2019 Review Jeff Mitscherling Wladyslaw Strožewski Proofreading Keith Horechko Cover design Agnieszka Gogola ISBN 978-83-8138-103-1 (print) ISBN 978-83-8138-210-6 (on-line, pdf) The publication is financed by the Ministry of Science and Higher Education of the Republic of Poland under the program „DIALOG” in the years 2019-2020 KSI^GARNIA AKADEMICKA ul. šw. Anny 6, 31-008 Krakow tel./faks: 12 431-27-43, 12 421-13-87 e-mail: [email protected] https://akademicka.pl I Table of contents 1. Simona Bertolini I Ingarden and the “Layered” Anthropologies of His Times ....................... 7 2. Virgil W. Brower Innards of Ingarden. Secredon, Permeation & Physiology ofTime ....... 25 3. Wojciech Chojna Roman Ingarden and Edmund Husserl. Idealism, Identity, and Relativism ............................................................. 43 4. Dominika Czakon, Natalia Anna Michna, Leszek Sosnowski On the Difficult Academic and Personai Relationship of Roman Ingarden and Kazimierz Twardowski ...................................... 63 5. Nigel Dower Situated Freedom. Thoughts on its Importance, Variability and Malleability ....................................................................... 81 6. Sergio Fernandes Husserl’s “Idealism”. Intentional Externalist Adverbialism and Epistemological Disjunctivism .......................................................... 93 7. Matthew Gladden Ingarden’s Systems-Theoretical Philosophical Anthropology as a Tool for Analyzing the Technological Posthumanization of Persons and Societies ........................................................................... 109 8. Hans Grelland Phenomenology and Physics. Hermann Weyl (1885-1955) ................. 127 9. Romulo Eisinger Guimarāes From “Unbestimmtstellen” to “Leerstellen” zx\& “campo dipossibilitd interpretative”. How Current is Ingarden’s lheory of Literature? .......... 143 10. Ineta Kivle Music in the Phenomenologv of Roman Ingarden and Alfrēd Schutz ............................. ......................................................... 159 11. Helene Leblanc The Semiotic Foundation of Ingarden’s Analysis of Music ..................... 173 12. Olivier Malherbe Artistic Creation in Ingarden’s Thought .................................................. 191 13. Andrzej Poltawski Roman Ingarden’s Dramatic Pursuit of Philosophical Truth ................. 213 14. Maigorzata A. Szyszkowska Roman Ingarden’s Theory of Aesthetic Experience. From Idea to Experience and Back .......................................................... 223 15. Edward M. Šwiderski Ingarden and the Quandary of Musical Ontology ................................. 239 16. Jan Woleriski Philosophical Significance of the Lebensivelt. An Analytical Approach and a Defence of Naturalism ......................... 255 Index ................................................................................................... 271 Roman Ingarden and His Times https://doi.org/10.12797/9788381382106.10 INETA KIVLE University of Latvia Music in the Phenomenology of Roman Ingarden and Alfrēd Schutz Abstract Ingarden’s and Schutz’s approaches to music are not only two various phenomenologies of music. They also justify two branches of the development of Husserl’s phenomenology — one shows how the phenomenological method of reduction is applicable to constitution of essences of particular phenomena, in this case to music; the other accentuates how the concepts of life-world and intersubjectivity are developed in the context of music. This study analyzes how Husserl’s phenomenology influences Ingarden’s and Schutz’s views on music; how such basie notions of phenomenology as intentiona!ity, constitution of es­ sences, intersubjectivity, life-world, and internai time modify their philosophical conceptions of music. Ingarden employs a method of phenomenological reduction for the Identification of ontological struetures and modes of being of the musical work, and shows how the essence of music dwells in the musical work itself, while Schutz emphasizes the common sodai experience of music and analyzes music as an intersubjective and social phenomenon. The philosophers share two approaches in common: (a) they both turn away from transcendental to reālist phenomenol- ogy and (b) they both use phenomenological concepts for deseriptions of music. The primary resources of the study are Ingarden’s The M u sic a l W ork and Schutz’s M aking M usic Together. A Study in Social Relationship and M ozart and Philosophers. Comparing the views expressed in these works we see both similar and different approaches to phenomenological interpretation of music. 160 Ineta Kivle Key words: music, time, Husserl, Ingarden, Schutz, phenomenology Philosophical thinking about music and listening to music constitute dif- ferent meanings of music. In the process of listening to music we do not analyze essential structures of music but enjoy sonority; when we begin to analyze what we have listened to, we move to a theoretical approach, intentions are no longer directed to the sounding phenomena but to our thoughts, impressions and emotions. Husserl writes: “Just as a phantasied sound is not a sound but the phantasy of a sound, or just as tonal sensation and tonal phantasy are fundamentally different and are not to be considered as possibly the same, except the difference in interpretation, likewise pri­ māra intuitively remembered sound is intrinsically something other than the perceived sound, and the primary remembrance of sound is something other than the sensation of sound.”1 If we listen to music, we experience the melody; however, if we think about the phenomenon of music, we are in a phenomenological attitude and practice philosophical thinking. If we constitute structures of internai time consciousness, we explore the method of phenomenological thinking. As an object the heard melody is the same in both situations - in listening to the melody and in thinking about it - but the melody appears differently at the two times because it is grasped by different intentions and constitutes different meanings: “The sound itself is the same but in the way “that it appears” the sound is continually different.”2 The development of the phenomenology of music would perhaps have been unlikely without Husserl’s contribution. While he does not write about music directly, he provides the impulse to think about mu­ sic as a time-object, intentional object and meaningful intersubjective phenomenon, showing ontological structures of the phenomenon. If the ontological structure of any phenomenon is a dynamic correlation be- tween objectivity and appearance, then what are the exclusive features of 1 Edmund Husserl, The Phenomenology o f Internai Time-Consciousness, ed. Martin Hei- degger, trans. James S. Churchill (Bloomington: Indiana University Press, 1964), 54. 2 Ibid., 45. Music in the Phenomenology ofRoman Ingarden and Alfrēd Schutz 161 the phenomenon of music that differentiate it from other phenomena? Husserl’s descriptions of sound as a temporal object and his elucidation of the structure of internai time consciousness give clear phenomenological analyses of music. Husserl’s phenomenology describes sound as it is given in experience, and alongside his descriptions of sound he elucidates on- tological structures, essences, formation of meanings, intentionality, the phenomenal time of experience, and the internai time of time-objects. Alongside descriptions of sound Husserl’s approach constitutes intentional structures of internai time consciousness. The question: “How do T perceive music?” is the beginning of the phe­ nomenological constitution of music. Later phenomenologists of music do not repeat the question: How is music as a meaningful phenomenon given in the stream of consciousness? They do not analyze the constitution of meaning and the pure ‘I’, nor the techniques of phenomenological and tran- scendental reduction, bracketing and reflection. They turn away from Husserl’s revelations of transcendental phenomenology and create realistic phenomenology in analysis of particular phenomena. Both Ingarden and Schutz pay critical attention to phenomenological transcendentalism: In­ garden criticizes Husserl for dependence on the world of consciousness; however, he explores reduction as a methodological way for identification of ontological structures and gives a realistic description of the work of art. Schutz suggests that this is not an appropriate approach for the theoretical explication of social structures and the phenomenology of music. Ingarden’s Realistic Phenomenology of Music Ingarden does reject Husserl’s views regarding the constitution of essence by turning away from the natūrai attitude to the phenomenological atti- tude, the slogan “back to things themselves”, phenomenological reduction, and reflection. Ingarden explores these cognitions as evidently given; he does not repeat them but concentrates on the musical work itself. Ingarden’s approach is centred upon the question: How is music in itself? He is the first to elaborate such detailed analyses of the ontological structures ofworks of art: literature, music, painting, architecture, and film. 162 Ineta Kivle Because of the belated translation of The M usical Work into English, the references of later phenomenologists of music to Ingarden’s
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