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This article sets out the overall framework within which American music phenomenologists operates. A widely accepted definition of the word phenomenology, together with a basically eclectic attitude and a boundary issue between musicology and philosophy, is identified. The impetus to the article is provided by an anti-positivistic polemic and a plea in defence of the meaning and concreteness of musical experience. These aspects then combine in a critique of traditional musical analysis in its positivistic matrix. S.K. Langer's philosophy, as the inspiration of this polemic, is examined in the central part of the article. However, the author's distancing from the "idealistic' aspects of his esthetics is covered, in particular the downplaying of the sound-sensitive level and the condemnation of musicology in general. Sense and sensitive materials, wide philosophical options and concrete procedures of music analysis are what these authors look for in phenomenology as a means to reconcile humanistic and technical culture. Therefore, the article is not so much a condemnation as an attempt to refound musicology in its entirety, with particular reference to contemporary music.

DOI: 10.1007/BF02284700

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