Abstract
Abstract This article takes its point of orientation from Edmund Husserl’s discussion of internal time consciousness and shows that the melody is not simply a useful example for Husserl, but rather as a temporal object is highly significant for his discussions of time. Drawing on musical examples, it is shown how melodies make manifest the affective experience of being in the world, independent of any representation of things. This capacity of melody is rooted in its temporal constitution. Hearing a melody is listening to what is to come, as much as it is a retention of what has been. But the future to come is a future experienced as future perfect (what will have been). The temporality of the melody is one of gathering and wholeness, rather than dissipation and loss. In this the melody is indicative of an orientation toward the eternal.
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