  Another proponent of an idealist ontology of art is Waldemar Conrad (1908–09). Conrad stressed Edmund Husserl’s contrast between “natural” and “phenomenological” attitudes and their objects (for background, see the entries on Husserl and phenomenology). Conrad asserts that only the latter attitude can reveal the “ideal Object” that is the genuine or intended [gemeinte] work of art. In his example, which could well have served as the counterpoint for Sartre’s discussion of Beethoven’s Seventh Symphony, the genuine work is the symphony itself as opposed to the various spatiotemporal events, such as more or less competent orchestral performances, or someone’s whistling the melody or reading the score, that might help to direct attention to some of the work’s essential features (1908–09, 77–78). Conrad does not present a detailed defense of his assumptions about the ontology of ideal objects, but clearly shared Husserl’s aversion to psychologism (for background, see the entry on psychologism).