Abstract
Daniel Schmicking explores auditory imagination from a phenomenological perspective. He starts with an outline of phenomenological tools building mainly on Husserl’s thinking, and then sets out to analyze the structure of auditory imagination and its function in collaborative music-making. In his account of the workings of auditory imagination, Schmicking challenges the traditional Western notion of imagination as something private. A central part of Schmicking’s account of auditory imagination comprises a distinction between pure and weak forms of imagination, and this distinction is further used to explore how imagination contributes to other intentional forms, such as perception and memory.
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