The tutor’s listing of all comments and observations represents a phenomenological horizonaliza-
tion, such as described by Creswell; “the researcher lists every significant statement relevant to the
topic and gives it equal value” (2007:235). In this way, the tutor expresses accept of all kinds of com-
ments. Even if this accept may not neutralize all sedimented beliefs and negative reactions towards
the music, in most cases the path is now clear for step four, investigation of the music guided by a
focusing question. This step represents the beginning of phenomenological variations.
The following steps represent further phenomenological variations, which can proceed as far as time
and the motivation of the participants allow. In the progression, the tutor makes decisions, choosing
between music-focusing and hermeneutical listening. He or she has prepared questions and cues
in advance, and can also benefit from new questions arising from the participants’ observations and
comments. The investigation maintains the dialogue format as long as necessary in order to facilitate
unimpeded and informal description. It is rewarding to round off with an open listening.
Intensive listening to an excerpt of music can serve as an introduction to the whole piece. The
familiarity with the musical features of the excerpt facilitates continued listening to the same piece
of music.
2.4.3. The experimental listening project.
The sessions of experimental listening involved two participants who had experiences of intensive
listening, and were motivated for further exploration. One had prepared the sessions, the other
responded to questions, tasks and cues, and contributed actively to the course of the progression.
Similar to intensive listening, experimental listening consists of the alternation of open, music-fo-
cused, and hermeneutical listening, but it proceeds much further, applying phenomenological varia-
tions in numerous listenings. The outcome is a progressive appropriation of the music, a cumulative
description of the music in its entirety and its details (noema), and reflections on the variable process
of listening (noesis).
The musical pieces selected for experimental listening were the following:
- Bela Bartok: An Evening in the Village. No. 1 of Hungarian Sketches for orchestra, Sz 97
(1931). Chicago Symphony Orchestra, cond. Pierre Boulez. DG 445 825-2.
Duration 2’47. - Anton Webern: Bagatelle for String Quartet op. 9 no. 1. (1913).
Emerson String Quartet. DG 445 828-2. Duration 0’30. - Coleman Hawkins, tenor saxophone with band: Body and Soul (11 October 1939).
RCA Bluebird ND 85717. Duration 3’00.
Reasons for these selections were that the pieces relate to other paragraphs of the present text, and
that the performance quality of the three recordings is high. Bartok’s piece is included in the GIM
program ”Present Moments” (Chapter 5). Webern’s Bagatelle is the object of an analysis by Thomas
Clifton (This chapter). Hawkins’ saxophone solo is described in The Musical Timespace (Chapter 4).