Complementary contributions to music phenomenology
Ihde, Clifton and Ferrara approach music phenomenology from different viewpoints. Their contribu-
tions complement each other.
Don Ihde devises methodical procedures for phenomenological investigation. He discusses the
ideas of Husserl and Heidegger, defines their philosophies as first and second phenomenology, and
includes their approaches in his philosophy of listening. However, Ihde does not describe any piece
of music. Judy Lochhead continues Ihde’s work by applying phenomenological methods in music
analysis.
Thomas Clifton proposes pioneering ideas concerning the constitution and definition of music. He
adopts approaches from Husserl, Heidegger, Merleau-Ponty and Dufrenne in numerous descriptions
of music examples, but he does not adhere to a strict phenomenological method. However, Loch-
head and Ferrara acknowledge that Clifton has introduced new beginnings, perspectives, and goals
in music theory.^25
Lawrence Ferrara acknowledges the ideal of unbiased description stated in Husserl’s early phe-
nomenology, but he dissociates himself from Husserl’s subsequent views, and emphasizes the
importance of Heidegger’s hermeneutical philosophy. Ferrara proposes a seminal procedure for phe-
nomenological analysis in his description of Varèse’s Poème électronique, but he later downgrades
phenomenology in favor of score-based analysis.
Don Ihde’s ideas constitute the basis for investigation of experimental phenomenology described in
section four of the present chapter. Lawrence Ferrara’s ideas form a basis for phenomenological de-
scription of music in music therapy.
2.3 Phenomenologically inspired descriptions of music in music therapy research
A number of music therapy researchers have applied phenomenological approaches to the descrip-
tion of music. In particular, the methods proposed by Ferrara (1984, 1991) have proved fruitful. A few
studies mention the writings of Don Ihde and Thomas Clifton, but do not find a use for their ideas.
The following section discusses applications of Ferrara’s approach in music therapy research.^26
2.3.1. Ruud (1987): Musikk som kommunikasjon og samhandling
[Music as communication and interaction]
Even Ruud discusses Ferrara’s article in his doctoral dissertation (1987:338-344). He states that lis-
tening without any kind of presupposition is not possible. He points out the importance of varying the
focus of listening and comparing the outcomes, and he appreciates the startling experience of listen-
ing for the sound as such.
The structural, semantic and pragmatic levels
For the description of music therapy improvisations, Ruud proposes to explore a structural, a seman-
tic, and a pragmatic level, which replace Ferrara’s syntactical, semantic, and ontological levels. He
argues that the structure of relationships between the participants in an improvisation will often be
25 Lochhead (1985/86:364); Ferrara (1991:151,183).
26 For a comparison of these studies with other types of investigation, see Bonde (2005:489-525): Approaches to Re-
searching Music.