Música e fenomenologia no Traité de Pierre Schaeffer

Pierre Schaeffer's (1910Schaeffer's ( -1995) ) Traité des Objets Musicaux is a work which aims at a radical revision of the theoretical foundations of music.In this sense, it can be considered as one of the most important treatises ever written.Among the many topics covered in his Traité, Schaeffer investigates the sound as it is heard, i. e. the sound as a phenomenon.In the first chapter I provide a brief historical background, trying to expose some of the reasons for Schaeffer's choice of this specific approach towards the sound.Faced with a crisis of both production and theoretical knowledge of music, many aesthetic trends adopted as fundament the model of hard sciences and acoustical physics.The result was what Schaeffer called "a priori music".This approach is rejected by him on the basis that our perception of sound cannot be reduced to measurements that merely describe the acoustic signal.As an alternative, Schaeffer proposes to carry out a fundamental music research which conceives music as an interdiscipline and, above all, approaches the sound as a phenomenon (i.e. as a sound object).In the second chapter, I point out Schaeffer's phenomenological affiliation through analysis of his theoretical sources, i. e. Merleau-Ponty and Husserl.In this very chapter, I provide evidence for the fact that Schaeffer conceives the idea of sound object as an intentional object.The third chapter is devoted to the discussion of the origins of the concept of sound object, beginning with "acousmatic" and then analyzing how a series of phenomenological concepts (e.g.transcendence, epoché and reduction) is applied by Schaeffer in his Traité.The fourth chapter describes Schaeffer's "Theory of Listening" and discusses in what sense it can be understood as an intentional analysis of listening.In the fifth and final chapter, I present the two main results of the intentional analysis of listening: firstly, the correlation between the listening of a physicist and that of a musician; secondly, the recognition that the sound object represents a synthesis of a structural dualism.In conclusion, I briefly summarize the consequences of schaefferian phenomenology for the program of musical research proposed by Schaeffer in the final books of his Traité

Acoustics · Aesthetics · Art · Epistemology · Linguistics · Perception · Phenomenon · Physics · Music Technology and Sound Studies · Philosophy · Psychology

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