The question of the possibility of a phenomenological sociology is of the utmost importance today. In this paper, techniques in transcendental-genetic phenomenology are introduced as applicable to sociological work. I introduce the concept of recoil, a habit of thought which negatively determines protentions and expectations concerning types sedimented in far retention. Recoil is seen to be an important element in the theory of alterity in social life, including the understanding of alters as invisible. Finally, arguments in favor of the use (...) of the epoché in sociological work is given, as the epoché allows us to engage with the experience of the subject of study without a latent invidious comparison to a naturalistic substructure. (shrink)

Summary I outline an approach to the phenomenology of improvised music which takes typification and the development of multi‐ordered phenomenological structures as central. My approach here is firmly in line with classical Husserlian phenomenology, taking the discussion of types in Experience and Judgment (Husserl, 1973) and Brudzińska (2015) as guide. I provide a phenomenological analysis of musical types as they are found in improvisational contexts, focusing on jazz in the 20th century. Styles are higher‐order musical types. Musical types are structures (...) that are temporally “thick,” relying on sedimented typification and knowledge, driving expectations as definitional. In most forms of music (including improvised music), musical styles involve maintaining a balance between confirming expectations and flouting expectations. I show that improvised music has a phenomenal structure which is enriched by the communicative and “ real‐time” nature of improvised music. Improvised music can be seen as an exploration of a possibility space rendered by the juxtaposition of the musical types afforded by a performance environment (instrumentation, harmonic and melodic traditions, etc.). I show that improvisation in music is a multi‐vectoral form of communication. The communication is founded in what Dieter Lohmar calls “non‐linguistic thinking.” The expression is constituted in the results of active and synthesis. The culmination of improvisational exploration of possibility spaces is the precisification and enrichment of styles‐as‐types, while in some cases developing new styles in the process. (shrink)