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An Unnatural Attitude: Phenomenology in Weimar Musical Thought ( Chicago and London: University of Chicago Press, 2021 ), ISBN: 978-0-226-76298-2 (cloth)
The first chapter, ‘The Unnatural Attitude’, turns to a number of young intellectuals developing theories that provided an alternative to the primacy of acoustics in music theory and the subject–object division central to psychology. Rather than opening up a discussion about music's drastic nature – asking what it means to listen to music in the present or seeking to recover the music's carnality – the ‘moment of wonder’ may be said to display a phenomenological orientation: it presents an openness towards the future, seeking to ‘tease the possible from the actual object’ (49), as Judith Butler defines one of the tasks of phenomenology. Most productive in Steege's chapter is the discussion of Besseler's connections between the isolated, motionless listening of the concert hall and the mode of listening cultivated in the psychological laboratories of the 1920s, which submitted test subjects to ‘artificially isolated processes’ (101). The first entails listening ‘alone together’ to deepen one's relationship with the artwork; the second submits test subjects to laboratory conditions, also isolated from everyday life, in this case so that they respond in controlled ways to acoustic stimuli.