Abstract

The essay intends to revisit certain phenomenological themes present in the theoretical work of Pierre Schaeffer, based on his most important and influential book: the Traité des objets musicaux. A French engineer and composer, Schaeffer was the initiator – from the point of view of its musical practice, and its theoretical analysis – of one of the most important musical avant-gardes of the 20th century, musique concrète. The objective of the article will be to consider Schaeffer’s main reference – the phenomenology of Edmund Husserl – and suggest that Maurice Merleau-Ponty’s phenomenology could be a prism that helps to understand and expand the heterogeneous and incomplete research project the French composer documented extensively in his writings.