 The phenomenologist Alfred Schutz (1899–1959) is another philosopher whose work on music deserves mention. Schutz’s Fragments Toward a Phenomenology of Music was written in 1944, but published posthumously in 1976, and can be found in the fourth volume of his collected papers (Schutz 1996: 243–275). Schutz starts from the rather commonplace observation that music is meaningful though it lacks a conceptual or representational content. This feature he connects with a less obvious property of musical works. Some ideal objects may be grasped both monothetically as well as polythetically, that is, through a series of passages as well as in one glance. For instance, I could follow the steps that lead to the demonstration of Pythagoras’s theorem and come to understand it, but once I have done that I may also grasp the theorem in one single act, by grasping the proposition that expresses it (Schutz 1996: 247–248). But this is only possible because the theorem has a conceptual content that may be grasped once it has been understood. Precisely because it lacks such content, music can only be grasped polythetically by following its development as we listen to it, or when we recollect its unfolding. Thus,