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Alfred Schutz's (Vienna 1899 — New York 1959) research into the philosophy of music certainly cannot be regarded as the most notable aspect of this writer, born and educated in Vienna, later a naturalized American citizen. Nor can it legitimately be maintained that Schutz's writings on the subject form a systematic corpus in his work. Schutz was above all a social scientist, strongly attracted, as were many writers of the first half of this century, to the project of aclass="EmphasisTypeItalic ">philosophical foundation within his field of expertise. In this project, where phenomenology is encountered, the question ofintersubjectivity together with that ofcommunication among individuals, plays a crucial role. It is, therefore, undoubtedly correct to consider Schutz's theoretical interests in music within this framework; thus music tends to assume a paradigmatic value, in the sense that the musical piece in its concrete temporal development, in the presence of performers and listeners, demonstrates in a truly exemplary manner, how the process of social relationship actually functions.Although mindful of this frame of reference, nontheless we feel it can be asserted that the works of Schutz which we are about to examine are in themselves interesting stimuli, independently of any organic connection with the author's general project. These stimuli have furthermore proveked a theoretical debate that is still going on in the USA.

DOI: 10.1007/BF02284701

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