 This conclusion allows Schutz to break some ground in quite a different area, one that remains relatively underexplored in Western philosophy of music. In the essay Making Music Together (1951), Schutz considers the “mutual tuning-in relationship” (Schutz 1951: 79) that is necessary to the interactions between the various actors involved in music-making (composer, performers, and listeners). The polythetic constitution of the musical object is what ultimately allows this relationship, as the various participants in music-making share a common “flux of experiences in inner time” (Schutz 1951: 96).