Summary I outline an approach to the phenomenology of improvised music which takes typification and the development of multi‐ordered phenomenological structures as central. My approach here is firmly in line with classical Husserlian phenomenology, taking the discussion of types in Experience and Judgment (Husserl, 1973) and Brudzińska (2015) as guide. I provide a phenomenological analysis of musical types as they are found in improvisational contexts, focusing on jazz in the 20th century. Styles are higher‐order musical types. Musical types are structures (...) that are temporally “thick,” relying on sedimented typification and knowledge, driving expectations as definitional. In most forms of music (including improvised music), musical styles involve maintaining a balance between confirming expectations and flouting expectations. I show that improvised music has a phenomenal structure which is enriched by the communicative and “ real‐time” nature of improvised music. Improvised music can be seen as an exploration of a possibility space rendered by the juxtaposition of the musical types afforded by a performance environment (instrumentation, harmonic and melodic traditions, etc.). I show that improvisation in music is a multi‐vectoral form of communication. The communication is founded in what Dieter Lohmar calls “non‐linguistic thinking.” The expression is constituted in the results of active and synthesis. The culmination of improvisational exploration of possibility spaces is the precisification and enrichment of styles‐as‐types, while in some cases developing new styles in the process. (shrink)

Although the semantic insights about natural language produced so far by neuroscientific research have been meagre, (Pulvermüller 2010) they have provided one important empirical finding which lang...

In this paper we discuss the definitional problems of altered states of consciousness and their potential relevance in phenomenological investigation. We suggest that visionary states or visionary phantasy working induced by psychedelics, as extraordinary types of altered states, are appropriate subjects for phenomenological analysis. Naturally, visionary states are not quite ordinary workings of the human mind, however certain cognitive psychological and evolutionary epistemological investigations show that they can give new insights into the nature of consciousness. Furthermore, we suggest that contemporary (...) inquiries concerning altered states in consciousness studies give an opportunity to complete the contemporary phenomenological investigations of phantasy with the notion of visionary phantasy. Here we propose that the similarities and differences between Dieter Lohmar’s weak phantasy and Benny Shanon’s concept of vision are precisely discernible, and, consequently, it may be possible that weak phantasy and visionary phantasy are situated on the two outermost poles of the colorful spectrum of phantasy activity. (shrink)