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Importance of Husserls Phenomenology of Internal Time PDF
Importance of Husserls Phenomenology of Internal Time PDF
Importance of Husserls Phenomenology of Internal Time PDF
down into unconsciousness the more distance is created responses: Imagination, Tension, Prediction, Reaction and Appraisal.
Figure 2. A perceived rhythm E1 and its four retentional
layers E2-5
with k := index of the onset in the sequence, n := a nat- [3] Deutsch, D. ”Grouping Mechanisms in Mu-
ural integer, ER := onset of the feedback loop within re- sic”, The Psychology of music, pp.299-348,
tentional layer n, EW := onset time within the perceived Academic Press, San Diego, 1999,
layer, ZW := inter-onset time within the pereceived layer [4] Hegel, G.W.F. Aesthetics : lectures on fine art.
as EW(k+1) − EWk . Clarendon Press, Oxford, 1975.
If n is an integer > 0, the formula generates the onsets
of the nth retenional layer. The chances are then relatively [5] Honing, H. ”Structure and Interpretation of
high that any ERk may coincide with a EW(k+i) ,with i Rhythm and Timing”, Tijdschrift voor Muziek-
as an integer > k. But if n is a rational number > 0, the theorie, 7:3, pp.227-232, 2002.
chances are relatively high that any ERk may not coincide
[6] Huron, D. Sweet Anticipation: Music and the
with a EW(k+i) , but rather falls in-between inter-onset
Psychology of Expectation. MIT Press, 2006.
times of the perceived layer. Instead of discrete retentional
layers (with n as an integer) there is then a time field with [7] Husserl E. The Phenomenology of inter-
an infinite number of layers between the discrete layers. If nal time-consciousness. Nijhoff, The Hague,
n changes for concecutive k of onsets one obtains propor- 1964.
tional transformations of the inter-onset times within a re-
tentional layer. If n changes for each one of the individual [8] Iverson, P. and Krumhansl, C. L. (1993) ”Iso-
layers one obtains non-linear trajectories between the on- lating the dynamic attributes of timbre”, Jour-
sets of the feedback loops leading downwards from layer nal of the Acoustical Society of America, 94:5,
to layer. If n is < 0 one obtains the inverse of the princi- pp. 2595-2603, 1993.
ple, i.e. a given rhtyhm would be mapped on a fictitious [9] Langer, S.K. Feeling and form : a theory of
rhythm in the past, as if the fictitious rhythm in the past art developed from Philosophy in a new key.
would be the ’perceived’ rhythm and the given rhtyhm Routledge and Kegan Paul, London, 1953.
would be a retentional layer of that fictitious rhythm. This
negative prnciple again offers the same options as before, [10] Papadelis, G. and Papanikolaou, G. ”The Per-
i.e. n as an integer or a rational number, changing from ceptual Space Between and Within Musical
one onset to the next onset or between individual layers. Rhythm Categories”, in: Davidson, J.W. ed.
In the end one can imagine free trajectories through any The Music Practitioner, pp.117-129, Ashgate,
point of the retentional time field. In this manner one gen- Burlington, 2004.
erates new rhythms over and over again, but always based
[11] Schenker, H. Five graphic music analyses.
upon one and the same single line of durations.
Dover Publications, New York, 1969.