Whole/Part relations in Music: An Exploratory Study

Journal/Book: Journal f Aesthetic Education. 1991; 25: 175-193.

Abstract: "The essay applies Husserl's analysis of parts and wholes to musical situations. The trad. vocabulary of phenomenological analysis has been skirted in order to focus more on the phenomena in question instead of the technique. I will, by approximations, look to musical experience and invite you to do the same, describing carefully how music is present to us. At issue here will be the examination of musical phenomena in an attempt to see how Huserl's distinctions between types of parts and wholes shed light on musical structure, activity, and instruction."

Note: A discussion of part and whole in music (incl. independent and dependent parts) is followed by discussion opf Retentions and Protentions in music; retained=what is kept in consciousness, even when absent (ex. first one of a melody, when singing the second), protention=a sense of what is to come (ex. when we know a melody and stat singing). "Just as retentions are distinguished from recollections, so are protentions to be distinguished from acts that produce expectations. ...Expectations and recollections are specific acts, things we do, while protention and retention are parts of each of our acts."

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