Ellen Moysan - ‘Phenomenological Description of the Notion of Inner Song: Doing Phenomenology to Understand Music Practice’

<p>This episode of Season 5 of the BSP Podcast features Ellen Moysan, Duquesne University, Pittsburgh, PA. The presentation is taken from our 2020 annual conference: ‘Engaged Phenomenology’ Online.</p> <p> </p> <p>ABSTRACT: A musical performer plays or composes what is “heard in the mind.” I call this musical phenomenon: “inner song,” and I use a Husserlian framework to describe it as an object of phantasy. In the present paper, I will demonstrate how an accurate description of the inner song requires a rigorous praxis of phenomenology giving voice to actual performers coming from various backgrounds. The “inner song” is a musical phenomenon of phantasy in the sense that it is independent from the perception of a physical sound and constituted in consciousness by the imagination reshaping sensory-data (essentially sounds) in a totally new fashion. It can take two forms: a “pure phantasy object” (improvisation and composition), and a “hearing through seeing” (interpretation from a score); the difference between the two is the mode of involvement of perception. My method is to engage with phenomenology as a “praxis.” I go back to the experience of the inner song: (1) questioning my experience as a cellist, and (2) engaging in a dialogue with musicians from various traditions interviewing them about their practice. This approach provides a plurality of points of views and constitutes an “eidetic variation” that helps me to highlight the essential structures of the “inner song”. From this foundation I develop a description grounded in a Husserlian framework. Engaging with the inner song offers a unique perspective on the challenges of interdisciplinary phenomenology: first, it brings back to phenomenology as a “praxis” starting with the reduction and shaped by the object itself; second, it highlights the necessity to listen to a plurality of practitioners who have a first-hand experience of the object, here the musicians themselves; finally, it demonstrates how it is the object itself which brings together the ph