Abstract

Roman Ingarden has exerted an immense influence on the development of aesthetics, and his texts in this field continue to inspire in-depth studies on art, despite the passage of several decades since the publication of his major works. At the same time, however, phenomenology – especially in France – brought about crucial changes during the second half of the twentieth century with regard to thinking about art, undermining its own methodological principles and tenets, as well as redefining fundamental phenomenological concepts. In this article, I address the question of the continued relevance of Roman Ingarden’s approach to the musical work within the context of current phenomenological research, in particular that which concerns the subject of aesthetic concretisation.