Universität Wien FIND

160061 UE Micro-phenomenology for Musicology (Methods Workshop) (2020W)

Continuous assessment of course work


Note: The time of your registration within the registration period has no effect on the allocation of places (no first come, first served).


max. 40 participants
Language: German


Classes (iCal) - next class is marked with N

Additional information regarding SARS-CoV-2:
This course is planned for teaching in physical presence (following usual rules of UE style courses).

In case that due to rules regarding COVID-19, coutne units cannot be held in physical presence, these units will be held synchronous as video conferences.

For students who pertain to an explicit risc group for COVID-19, or who live in close contact with persons who pertain to an explicit risc group for COVID-19, and students who have to maintain quarantine or are subject to travel restrictions due to current COVID-19 rules, and who are therefore unable to participate in the course in physical presence, relevant information will be made accessible on Moodle, and individual question-and-answer meetings will be offered as video conferences (please direct a corresponding request via email to the course teacher!).

Monday 12.10. 13:15 - 16:30 Hörsaal 1 Musikwissenschaft UniCampus Hof 9, 3G-EG-09
Monday 19.10. 16:45 - 20:00 Hörsaal 1 Musikwissenschaft UniCampus Hof 9, 3G-EG-09
Monday 09.11. 13:15 - 16:30 Digital
Monday 23.11. 13:15 - 16:30 Digital
Monday 18.01. 13:15 - 16:30 Digital
Monday 25.01. 13:15 - 16:30 Digital


Aims, contents and method of the course

Since a couple of years, the microphenomenological method has been developed mainly in psychology, pedagogy, and therapy research. This method is promising to be applied for various purposes in musicology: through specific qualitative methods, microphenomenology enables to compare musical experience in intersubjective terms and thus to contribute to theorizing music. The method is based on an interview protocol that allows to access subjective experience in high detail. This kind of interview requires much preparation and experience from the interviewer. In this course we will – after some introductory reading and explanations given by the teacher – train and evaluate said interview method and discuss problems and caveats. Evaluating these interviews likewise requires familiarity with the kind of material gained in interviews, so the second part of the course is devoted to structuring and transcribing interview recordings, establishing categories, and extrapolating comparable intersubjective qualities of experience. Students will write a (short) paper about their progress in conducting at least one microphenomenological interview about a musical topic individually chosen, and analysing and interpreting the data obtained.

Assessment and permitted materials

active participation, exercises, homework

Minimum requirements and assessment criteria

Examination topics

immanent in course

Reading list

Literature can be found on Moodle:

Dura, Marian T. 2006. The Phenomenology of the Music-listening Experience. Arts Education Policy Review 107(3): 25-32.
Montague, Eugene. 2011. Phenomenology and the ‘hard problem’ of consciousness and music. In Clarke, D. and Clark, E. (eds), Music and Consciousness. Philosophical, Psychological, and Cultural Perspectives. Oxford & NY: Oxford University Press.
Petitmengin, Claire & al. 2018. Discovering the structures of lived experience. Towards a micro-phenomenological analysis method. Phenomenology and the Cognitive Sciences 18 (4) 691-730.
Stoichiţă, Victor A. & B. Brabec de Mori. 2017. ‘Postures of Listening – An ontology of sonic percepts from an anthropological perspective.’ Terrain. Anthropologie & sciences humaines, on-line: http://terrain.revues.org/16418.

Association in the course directory

MA: M02, M03, M04, M05, M08, M13, M16

Last modified: Th 23.03.2023 00:19