In this article, the author examines the developments made by Husserl on the perception of the specific tempo-object, which is to say the melody, on the basis of critical readings that determine them. By refuting all at once Brentano’s instantaneous seizure, Stern’s time of presence and Meinong’s afterthought consciousness, Husserl gives himself the means of a properly phenomenological resolution of the problem of melodic unity in consciousness. The dissatisfaction in relation to the discussed positions will lead Husserl to a widening of the field of intuition, which will lead him, especially in the Bernau Manuscripts of 1917-1918, to think the originary as a dynamic movement, as a process.