This volume contains a translation of four early manuscripts by Alfred Schutz, unpublished at the time, written between 1924 and 1928. The publication of these four essays adds much to our knowledge and appreciation of the wide range of Schutz’s phenomenological and sociological interests. Originally published in 1987. The essays consist of: a challenging presentation of a phenomenology of cognition and a treatment of Bergson’s conceptions of images, duration, space time and memory; a discussion of the meanings connected with the (...) grammatical forms of language in general; a consideration of the relation between meaning-contents and literary forms in poetry, literary prose narration and dramatic presentation; and an examination of resemblances and differences in the inner forms and characteristics of the major theatrical art forms. (shrink)

Alfred Schutz's (Vienna 1899 — New York 1959) research into the philosophy of music certainly cannot be regarded as the most notable aspect of this writer, born and educated in Vienna, later a naturalized American citizen. Nor can it legitimately be maintained that Schutz's writings on the subject form a systematic corpus in his work. Schutz was above all a social scientist, strongly attracted, as were many writers of the first half of this century, to the project of aphilosophical foundation (...) within his field of expertise. In this project, where phenomenology is encountered, the question ofintersubjectivity together with that ofcommunication among individuals, plays a crucial role. It is, therefore, undoubtedly correct to consider Schutz's theoretical interests in music within this framework; thus music tends to assume a paradigmatic value, in the sense that the musical piece in its concrete temporal development, in the presence of performers and listeners, demonstrates in a truly exemplary manner, how the process of social relationship actually functions.Although mindful of this frame of reference, nontheless we feel it can be asserted that the works of Schutz which we are about to examine are in themselves interesting stimuli, independently of any organic connection with the author's general project. These stimuli have furthermore proveked a theoretical debate that is still going on in the USA. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Learning Music:Embodied Experience in the Life-WorldEva Alerby and Cecilia FermIn the present age, which is often signified as post-modern or knowledge-intensive, the calls for learning echo loud. Discussions of learning, as well as teaching, permeate almost all levels and arenas of our society, and have a sure place in every-day conversation as well as scientific debate. The concept of learning can be understood and explained in many different ways. (...) Our intention in this article is to make visible and discuss how learning music can be understood and explained from a life-world approach.By life-world approach we mean that learning is constituted by the experiences that we are having in the world. From that perspective it can be seen as a process which leads to some kind of change, whose utmost purpose is—consciously or unconsciously—to create meaning and make managing the world possible. In addition, we stress that learning does not arise nor is formed in a vacuum, but instead is found in complex contexts. In turn this creates the necessity of making learning situated and contextualized.1How one understands how music is learned is consequently influenced not only by what fundamental assumptions one holds about learning but also by prevailing views of music. Furthermore, how musical ability is regarded and whether musicality is accepted as an emotional or cognitive phenomenon is also [End Page 177] important. Other assumptions that need to be considered are whether or not it is possible to divide musicality into smaller parts and if that is the case, what is the relationship between these parts. One further question that has to be illuminated is the question about biological and social influences on musicality.2 According to Sture Brändström,3 musicality is sometimes divided into two categories—absolute contra relativistic musicality. The first category implies that musicality is regarded as a native ability, already existing within the human being, an ability that some people have and others lack. The second category reflects an approach that assumes that musicality is something everybody can acquire, it can be learned and appropriated. We will return later to this issue.These questions reveal a dualistic approach, specifically: whether musicality is an emotional or a cognitive phenomenon, or absolute or relative, which in turn leads to the question of whether or not learning music is constituted within or outside the human being. To expose problems related to this dualistic approach in music education, we will examine musical learning using life-world phenomenology as a theoretical framework, a brief description of which follows.Phenomenology: A Way of ThinkingAt the turn into the twentieth century, the German philosopher, Edmund Husserl (1859-1938), named his philosophical approach phenomenology, and with that the development of modern phenomenology began. Phenomenology is both a method and a way of thought.4 He distinguished the fundamental principle of phenomenology as—'back to the things themselves.' According to Husserl it is through experiences that we gain access to things themselves. The concept of experience was essential to his formulation, and it became a key signature for the whole of phenomenology. His starting-point was how the world is experienced in a subjective way, and the aim was to find a way to describe the meaning of these subjective experiences. In other words, phenomenology has been summarized as a description of how the world is experienced by the person in the world.Various thinkers have interpreted phenomenology in different ways. Jan Bengtsson5 emphasized that phenomenological method should be named in the plural as methods. The phenomenology of the life-world, which was developed as an alternative to the so-called epoché, the special method of transcendental phenomenology, is a philosophy of the life-world without transcendental reduction. It is the life-world that constitutes the basis of our lives. It is the everyday world of our experiences, which we take for granted and where we live our lives. In other words it is the life-world that constitutes people's being-in-the-world.6 Through our existence we experience the concrete world in all its complexity, which is both historically and contextually dependent. Consequently... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Learning Music:Embodied Experience in the Life-WorldEva Alerby and Cecilia FermIn the present age, which is often signified as post-modern or knowledge-intensive, the calls for learning echo loud. Discussions of learning, as well as teaching, permeate almost all levels and arenas of our society, and have a sure place in every-day conversation as well as scientific debate. The concept of learning can be understood and explained in many different ways. (...) Our intention in this article is to make visible and discuss how learning music can be understood and explained from a life-world approach.By life-world approach we mean that learning is constituted by the experiences that we are having in the world. From that perspective it can be seen as a process which leads to some kind of change, whose utmost purpose is—consciously or unconsciously—to create meaning and make managing the world possible. In addition, we stress that learning does not arise nor is formed in a vacuum, but instead is found in complex contexts. In turn this creates the necessity of making learning situated and contextualized.1How one understands how music is learned is consequently influenced not only by what fundamental assumptions one holds about learning but also by prevailing views of music. Furthermore, how musical ability is regarded and whether musicality is accepted as an emotional or cognitive phenomenon is also [End Page 177] important. Other assumptions that need to be considered are whether or not it is possible to divide musicality into smaller parts and if that is the case, what is the relationship between these parts. One further question that has to be illuminated is the question about biological and social influences on musicality.2 According to Sture Brändström,3 musicality is sometimes divided into two categories—absolute contra relativistic musicality. The first category implies that musicality is regarded as a native ability, already existing within the human being, an ability that some people have and others lack. The second category reflects an approach that assumes that musicality is something everybody can acquire, it can be learned and appropriated. We will return later to this issue.These questions reveal a dualistic approach, specifically: whether musicality is an emotional or a cognitive phenomenon, or absolute or relative, which in turn leads to the question of whether or not learning music is constituted within or outside the human being. To expose problems related to this dualistic approach in music education, we will examine musical learning using life-world phenomenology as a theoretical framework, a brief description of which follows.Phenomenology: A Way of ThinkingAt the turn into the twentieth century, the German philosopher, Edmund Husserl (1859-1938), named his philosophical approach phenomenology, and with that the development of modern phenomenology began. Phenomenology is both a method and a way of thought.4 He distinguished the fundamental principle of phenomenology as—'back to the things themselves.' According to Husserl it is through experiences that we gain access to things themselves. The concept of experience was essential to his formulation, and it became a key signature for the whole of phenomenology. His starting-point was how the world is experienced in a subjective way, and the aim was to find a way to describe the meaning of these subjective experiences. In other words, phenomenology has been summarized as a description of how the world is experienced by the person in the world.Various thinkers have interpreted phenomenology in different ways. Jan Bengtsson5 emphasized that phenomenological method should be named in the plural as methods. The phenomenology of the life-world, which was developed as an alternative to the so-called epoché, the special method of transcendental phenomenology, is a philosophy of the life-world without transcendental reduction. It is the life-world that constitutes the basis of our lives. It is the everyday world of our experiences, which we take for granted and where we live our lives. In other words it is the life-world that constitutes people's being-in-the-world.6 Through our existence we experience the concrete world in all its complexity, which is both historically and contextually dependent. Consequently... (shrink)

Two representative and important works in one volume by one of the greatest German philosophers. The Birth of Tragedy (1872) was Nietzsche's first book. Its youthful faults were exposed by Nietzsche in the brilliant "Attempt at a Self-Criticism" which he added to the new edition of 1886. But the book, whatever its excesses, remains one of the most relevant statements on tragedy ever penned. It exploded the conception of Greek culture that was prevalent down through the Victorian era, and it (...) sounded themes developed in the twentieth century by classicists, existentialists, psychoanalysts, and others. The Case of Wagner (1888) was one Nietzsche's last books, and his wittiest. In attitude and style it is diametrically opposed to The Birth of Tragedy. Both works transcend their ostensible subjects and deal with art and culture, as well as the problems of the modern age generally. Each book in itself gives us an inadequate idea of its author; together, they furnish a striking image of Nietzsche's thought. The distinguished translations by Walter Kaufmann superbly reflect in English Nietzsche's idiom and the vitality of his style. Professor Kaufmann has also furnished running footnote commentaries, relevant passages from Nietzsche's correspondence, a bibliography, and, for the first time in any edition, an extensive index to each book. (shrink)

This volume contains a translation of four early manuscripts by Alfred Schutz, unpublished at the time, written between 1924 and 1928. The publication of these four essays adds much to our knowledge and appreciation of the wide range of Schutz’s phenomenological and sociological interests. Originally published in 1987. The essays consist of: a challenging presentation of a phenomenology of cognition and a treatment of Bergson’s conceptions of images, duration, space time and memory; a discussion of the meanings connected with the (...) grammatical forms of language in general; a consideration of the relation between meaning-contents and literary forms in poetry, literary prose narration and dramatic presentation; and an examination of resemblances and differences in the inner forms and characteristics of the major theatrical art forms. (shrink)