Abstract

This essay suggests that Hans-Georg Gadamer’s descriptive phenomenology of ‘tarrying’ [Verweilen] can be configured as an essential component of musical experience. At issue is the type of effortful work that intensifies the subject’s most valuable musical experiences and that allows them to become more sustainable and sensitive. It is assumed that music’s presence in the subject’s life should blossom and indeed bloom over time, although this guiding assumption is left unexamined while the essay considers how a detailed phenomenology of musical tarrying might afford the subject a way of underwriting the ways in which human-music relationships are configured. John Cage’s plant piece Child of Tree is deployed, perhaps counterintuitively, as an example of the ideal hermeneutic attitude underwriting tarrying, although it is suggested that the applicability of Gadamer’s constitution of tarrying extends beyond the musical-theatrical avant-garde.