 Schutz, himself a trained pianist and widely read musicologist, integrated his phenomenology with his understanding of music. Music, differing from language in being non-representative, lends itself to phenomenological analysis in the meaning it carries beyond its mere physical nature as sound waves and in its character as an ideal object that must be constituted through its unfolding stages, i.e., polythetically. Further music is bound to inner temporality, and its themes, even though their note sequences are the same, vary according to context, require reflection for their recognition, and emerge through an interplay between musical elements and the listener’s attention and interest. Schutz found music instructive in regard to social relationships insofar as, prior to any communication, parties to musical performances establish a non-linguistic, non-conceptual “mutual tuning in relationship.” This “tuning-in,” this sharing of another’s flux of experience in inner time already described in his Phenomenology, is very clearly exhibited whenever a listener to a musical performance participates in quasi-simultaneity in the composer’s stream of consciousness or when co-performers orient themselves to each other, the composer, and the audience. Hence, Schutz disagreed with Maurice Halbwachs who posited musical notation as the basis of social relationships between performers, when in fact it is merely a technical device accidental to their relationship. In another essay, Schutz depicted Mozart as a social scientist, presenting a succession of situations that different characters interpret, and Schutz showed how orchestral representations of characters and their moods in melody made possible a simultaneity of fluxes of inner time that the non-operatic, non musical dramatist could only unfold successively. Without self-consciously philosophizing, Mozart conveyed in music and better than most philosophers in their own medium, how human beings meet each other as a “We.”