By Suzanne Bachelard

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Extra info for A Study of Husserl's Formal and Transcendental Logic

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The answer lies in the fact that the recordings differ in timing nuances: each drummer slightly varies the timing of certain strikes, and these variations are too slight, too fine-grained to be represented in the notation. Before moving to the next section, I want to drop a methodological marker, so to speak. We have just taken the first step in moving toward what I referred to in the introduction as an analytical approach. We have done this by directing our attention to the music notation. Exactly what I mean by this will not be entirely clear until we progress through more of this chapter.

If there is still an impasse, in order to get your friend to hear what you hear, you might say something about the way in which you perceive the various elements, how they are related to one another in your perceptual experience: “The frantic groove seems to be a collaboration between the bass guitar and drums. ” Even after all of this, even though she may really be trying to hear it, she may still be missing it. ” Notice that this is not 44 Groove unlike a good critic’s attempt to get a listener to hear what she, the critic, hears.

And they do this in the same manner, playing the same notes on the same drums. Here is a more specific version of the question asked above: If the part each drummer played is correctly represented by the same notation, how can it be that it sounds different? The answer lies in the fact that the recordings differ in timing nuances: each drummer slightly varies the timing of certain strikes, and these variations are too slight, too fine-grained to be represented in the notation. Before moving to the next section, I want to drop a methodological marker, so to speak.

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