​The phenomenology of Franciscan spirituality offers a profound exploration into the lived religious experiences derived from the life and teachings of St. Francis of Assisi, a significant figure in the Catholic Church. St. Francis, who lived in the 13th century, left a lasting legacy that has captured the hearts and minds of millions, grounding them in a spirituality marked by humility, poverty, simplicity, and a deep sense of communion with God and all of creation.

In the heart of Franciscan spirituality is the immediacy of the divine encounter. St. Francis’ life was marked by direct, pre-conceptual, and intimate experiences of God. His encounters were not mediated by elaborate theological constructs but were direct and immediate. From a phenomenological perspective, this is akin to an existential ‘givenness’ that manifests itself in and through the world, without the need for abstract reasoning or conceptual mediation. This immediate awareness of God, as phenomenology would suggest, constitutes the very essence of religious experience in the Franciscan tradition.

Central to this spirituality is the embrace of poverty and humility. Francis, who renounced his wealth and lived amongst the poor, modeled a life that was not anchored in material possessions or social status. For Francis, true riches were found in a life that mirrored the humility and poverty of Christ. Phenomenologically speaking, this represents a radical ‘letting go’ of the ego and worldly attachments, allowing for an authentic, unmediated encounter with both God and others. In this light, poverty is not merely an absence of material wealth, but rather a profound self-emptying—a kenosis—that creates space for the divine to enter and transform one’s life.

Closely tied to the embrace of poverty and humility is Franciscan spirituality’s emphasis on fraternity and communal living. Inspired by St. Francis, the Franciscan orders are structured as brotherhoods, reflecting a deep and abiding sense of community. In phenomenological terms, this suggests a fundamental intersubjectivity at the heart of human experience. Franciscan spirituality posits that individuals are deeply interconnected with others and are called to live in harmonious, loving relations, thereby fostering a profound sense of the ‘other’ as not separate, but intimately related—a true brother or sister.

Furthermore, Franciscan spirituality is renowned for its deep love and care for creation, as evidenced in the famous Canticle of the Sun by St. Francis, where he refers to the sun, moon, and earth as his brothers and sisters. Phenomenologically, this reflects a non-dualistic stance towards the world, wherein the divine is perceived as immanently present in all aspects of life. This perspective invites a stance of reverence and stewardship towards all of creation, recognizing the interconnectedness and sacredness of all life forms.

A distinguishing feature of Franciscan spirituality is the harmonious balance it maintains between contemplative prayer and active service. This spirituality is not solely an inward, contemplative gaze towards the divine; it is also an outward, active gaze towards the world in need. Phenomenologically, this reflects the dynamic, reciprocal movement of consciousness that is both receptive (contemplative) and active (engaging with the world in love and service), mirroring the divine love that is simultaneously immanent and transcendent.

In conclusion, the phenomenology of Franciscan spirituality provides a rich and textured lens through which to understand the profound and transformative path towards union with God and harmony with the world as inspired by St. Francis of Assisi. It is a path marked by immediate awareness of the divine, a commitment to poverty and humility as means of liberation, a deeply communal and fraternal way of life, a reverence for and communion with all of creation, and a harmonious integration of contemplative depth with active, loving service. Through the lens of phenomenology, the lived experience of Franciscan spirituality emerges as deeply embodied, relational, and transformative, offering a compelling and authentic way to live out the Christian journey.

The concept of cyclic temporality is a central aspect of baroque music, with many of the composers of the period using cyclic structures to create a sense of continuity and coherence in their music. This approach to musical form is particularly evident in the work of composers such as Johann Sebastian Bach and George Frideric Handel, who use cyclic structures to create a sense of narrative and development in their music.
One of the key features of cyclic temporality in baroque music is the use of recurring musical ideas and themes. In many cases, these themes are introduced at the beginning of a piece and are then repeated throughout the course of the work, creating a sense of continuity and coherence. This is particularly evident in Bach's keyboard suites, in which he uses recurring themes and motifs to create a sense of narrative and development.

The concept of cyclic temporality in baroque music is closely linked to philosophical theories about consciousness and phenomenology. According to phenomenological theories, consciousness is characterized by a sense of temporal flow and development, with each moment arising from and giving rise to the next. This idea is reflected in the music of the baroque period, in which composers such as Bach and Handel use cyclic structures to create a sense of continuity and coherence.

Furthermore, the use of cyclic structures in baroque music can be seen as a reflection of the way in which consciousness itself is structured. According to some philosophical theories, consciousness is characterized by a series of recurring themes and motifs, which are constantly repeated and re-shaped in response to the changing world around us. This idea is reflected in the music of the baroque period, in which composers use cyclic structures to create a sense of narrative and development.

For example, in Bach's Prelude from his first keyboard suite (Well Tempered Clavier, Book 1, Prelude No. 1 in C Major), the opening theme is repeated throughout the piece, creating a sense of continuity and coherence. This theme is first introduced in the opening measures of the piece, and it is then repeated in various forms throughout the rest of the composition. Through this use of repetition, Bach is able to create a sense of narrative and development, with the music continually moving forward and unfolding in response to the recurring theme.
The use of cyclic structures in baroque music is also closely linked to the concept of narrative. Many of the composers of the period use cyclic structures to create a sense of narrative progression, with the music continually moving forward and unfolding in response to the recurring themes and motifs. This is evident in the work of Handel, who uses cyclic structures to create a sense of drama and tension in his music. For example, in Handel's Largo from the opera Xerxes, the composer uses a cyclic structure to create a sense of narrative progression. The piece begins with a simple, repeated bass line, which establishes a sense of continuity and coherence. Over the course of the piece, Handel introduces various melodies and harmonies that are built upon this repeated bass line, creating a sense of development and forward momentum. Through this use of cyclic structures, Handel is able to create a sense of narrative and development in the music.
Furthermore, the use of cyclic structures in baroque music can be seen as a reflection of the way in which consciousness itself is structured. According to some philosophical theories, consciousness is characterized by a series of recurring themes and motifs, which are constantly repeated and re-shaped in response to the changing world around us. This idea is reflected in the music of the baroque period, in which composers use cyclic structures to create a sense of narrative and development.

Overall, the use of cyclic temporality in baroque music is a key aspect of the compositional style of the period. Through the use of recurring themes and motifs, composers such as Bach and Handel are able to create a sense of continuity and coherence in their music, and they use these structures to create a sense of narrative and development. This approach to musical form is a key feature of baroque music, and it continues to be a source of inspiration for composers to this day.

The use of temporality in the symphonies of Jean Sibelius is a central aspect of his compositional style. Throughout his symphonic works, Sibelius explores the complex relationship between time and music, and he uses a range of compositional techniques to create a sense of temporal flow and development.
One of the most notable ways in which Sibelius uses temporality in his symphonies is through his use of extended musical forms. In contrast to the traditional symphonic form, which is typically structured around a series of repeated musical ideas and clear-cut structures, Sibelius's symphonies are often characterized by a sense of openness and indeterminacy. Rather than following a predetermined form, the music in his symphonies is often structured around a series of temporal events, with each event unfolding in its own unique way.
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This approach to musical form is evident in many of Sibelius's symphonies, including his fifth and seventh symphonies. In both of these works, Sibelius uses extended forms to create a sense of temporal flow and development, with the music continually shifting and evolving in response to the temporal structures that he has created. This creates a sense of dynamic movement, as the music continually unfolds and changes in response to the temporal structures that Sibelius has created.
In addition to his use of extended forms, Sibelius also employs a range of other compositional techniques to create a sense of temporality in his symphonies. One of these is his use of repetition, which he employs in a number of different ways throughout his symphonies. In some cases, Sibelius uses repetition to create a sense of continuity and coherence, as the music continually returns to familiar musical ideas and structures. In other cases, he uses repetition to create a sense of instability and uncertainty, as the music continually shifts and changes in response to the repeated material.

Another key aspect of Sibelius's approach to temporality is his unique use of the orchestra. Throughout his symphonies, Sibelius employs the full range of orchestral colors and textures, using the various instruments of the orchestra to create a sense of temporal flow and development. This is particularly evident in his seventh symphony, in which Sibelius uses the orchestra to create a sense of dynamic movement, with the music constantly shifting and changing in response to the various instruments of the orchestra.

Overall, the use of temporality in the symphonies of Jean Sibelius is a central aspect of his compositional style. Through his innovative approach to musical form and his use of repetition and the orchestra, Sibelius is able to create a sense of temporal flow and development that is both dynamic and engaging. His symphonies are a testament to his mastery of the art of symphonic composition, and they continue to captivate and inspire listeners to this day.

Morton Feldman's Triadic Memories is a landmark composition in the history of contemporary classical music. Commissioned by the pianist Ursula Oppens and premiered in 1981, the piece is a striking example of Feldman's distinctive compositional style, which is characterized by a focus on temporal structures and the use of extended musical forms.

At the heart of Triadic Memories is Feldman's innovative approach to musical form, which is centered around the use of temporal structures. Unlike traditional musical forms, which are typically based on the repetition of musical ideas and the use of clear-cut structures, Feldman's approach is much more open-ended and fluid. Rather than following a predetermined form, the piece is structured around a series of temporal events, with each event unfolding in its own unique way.

The result is a piece that is characterized by a sense of unpredictability and indeterminacy. As the music unfolds, the listener is constantly surprised by the unexpected turns and twists that the piece takes, with the music continually shifting and evolving in response to the temporal structures that Feldman has created. This sense of surprise and uncertainty is a key feature of Feldman's music, and it is one of the things that makes Triadic Memories such a striking and original composition.

One of the most notable aspects of Triadic Memories is the way in which Feldman uses the piano to create a sense of temporal flow. Throughout the piece, the piano plays a central role, with the music constantly shifting and changing in response to the pianist's movements. This creates a sense of dynamic movement, as the music continually evolves in response to the pianist's touch.

Feldman's use of the piano in this way is a key element of his compositional approach. By using the piano as the primary source of musical material, he is able to create a sense of temporal flow that is uniquely suited to his compositional style. This approach is evident throughout Triadic Memories, as the piano plays a central role in shaping the course of the piece.

In addition to his use of the piano, Feldman also employs a range of other techniques to create a sense of temporal flow in Triadic Memories. One of these is his use of extended musical forms, which allows the music to unfold over long periods of time. This creates a sense of continuity and coherence, as the music flows seamlessly from one moment to the next.

Another key aspect of Feldman's approach is his use of repetition, which he employs in a number of different ways throughout the piece. In some cases, he uses repetition to create a sense of continuity and coherence, as the music continually returns to familiar musical ideas and structures. In other cases, he uses repetition to create a sense of instability and uncertainty, as the music continually shifts and changes in response to the repeated material.
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Overall, Feldman's use of temporal structures in Triadic Memories is a key element of his compositional approach. By using extended forms, repetition, and the piano to create a sense of temporal flow, he is able to create a piece that is both unpredictable and engaging. Through his innovative approach to musical form, Feldman has created a work that is truly unique and original, and that continues to captivate and inspire listeners to this day.

What defines our western society? To me, it often feels like capitalism and consumerism. What does it mean to create art in a capitalist society? We often consider artistic merit, authenticity and the value of art. However, these three things are easily exploited and commercialised, making them the opposite of what they are, much like how the individual worth of mass music 'itself' becomes mass worth and profitability). 

Capitalism aims to turn art into a commodity. The characteristic of a commodity is to monetise an object whereby its value is only in relation to everything else within the marketplace. If you put a price on these things, their value is only worth their price. What is the value of a sheep as a food source versus as part of a picturesque view? The fundamental issue here is that the commoditisation of art offers no consideration of individual value or the value of its production, human labour or collaborative/community efforts. This commodification of value will inherently create a division of authorship between the consumer and the art.
Furthermore, capitalism seeks to exploit art as an industry. Art, or the presentation of art through media and advertising, is being produced for the marketplace. The issue is that the art follows a set of conventions based on mass culture because we understand what the consumer wants. This creates a dialectical process between the art and the consumer; the idea of value becomes a dialogue between the value of human creativity and the price it will sell for. 

A critical factor in this commoditisation is the introduction of recording and streaming technologies. Reproduction itself is not necessarily a bad thing. In music, we have pastiche writing. In fine art, we have imitation. Both processes take skill and may enhance the artist's skill, supposedly increasing the value of further art produced at an individual level. Reproduction can also produce imperfections which can hold inherent value to the audience on an individual basis. Reproduction can be both a form of art and art itself; photography is entirely based on this principle. There is no 'original work', rather a reproduction and heavily distorted representation here. Therefore, why is art that is produced and then reproduced in mass a problem?

Imagine there are two tables, one hand-made by a carpenter and one mass-produced from a multi-national furniture store. Instinctively, we may say that the former has more inherent value - but why? In the ready-made table, the object's form is not inherently from the designer's creativity but rather the analytical perception and assumption of aesthetics based on capitalist reasoning. Perhaps it is the perception of individual ownership that the object makes the receiver experience a sense of uniqueness, a process whereby an object may be seen as an extension of who you are. 

It is a good thing when an artist has a philosophical awareness. The value of art is dialectical; how does an artist or consumer see the concept of price besides the value of human work? By engaging with philosophical ideas their art poses, artists can try to resolve this tension and go beyond these conflicting terms to reach something new, a common objective of art creation. 

Listening 'at this moment in time is much like a dog chasing its tail. When a listener hears and subsequently directs their attention to a moment, they are merely examining a memory. If one anticipates a moment and focuses on a time-point, they are merely pre-empting a moment. Many may describe temporality as linear experience; left to right, right to left, or a continuous line stretching to and from eternity. However, temporality operates in absolute parallel with spatiality. I see time as something which comes at and over you. Occasionally, you may be looking forward and observing a time-point approaching you. At other times, you may be looking behind you and witnessing a time-point fade into the infinite distance. The past and future are strong forces constantly fighting to grab your attention. Perhaps you could lookup? Much like a cloud flies high above your head, the time-point at which the raindrop leaves the cloud compared to when it hits your head sits in a different place on the temporal spectrum. What may feel like the present is often the past and, if not, a murky anticipation of a time-point. 

Although a real-world moment and a moment as a manifestation of our consciousness are different, what qualities does a real-world moment have? How do we interact with a time-point when we experience it? The primary stage of experiencing a moment in time is our delayed experience to a real-world time-point. We often use terms such as 'immediate' or 'present' to describe this. Real-world moments are indestructible, but often our consciousness is shrouded in time-points that these time-points present as decaying objects as time passes over us. There is a direct correlation between the distances separating us from our delayed experience of a time-point and the perceived decay of a time-point experience. This decay will eventually present as nothingness but a false nothingness. A period of temporal experience may follow where the initial experience of the time-point presents as nothingness but may appear again as a memory. This memory has very little to do with the fixed real-world time-point but is a false manifestation of the time-point experience. Both the time-point experience and the memory are not bound by the real-world temporal spectrum and so cannot be classified as a moment. 

Moments occur in the real world and are present as time-points, not in the consciousness. However, human consciousness acts as a barrier between the real world and our apprehension of a time-point. A moment in temporal consciousness may present as either a loose-fitting observation of a time-point approaching us, a decaying time-point experience or a severely injured time-point manifesting as a memory. 

Prior to Edmund Husserl’s 1913 publication Ideen, the transcendental and idealist philosophies of Immanuel Kant onwards were centralised around independence and self-awareness. A focus on self-consciousness was also a concern of composers writing during the beginnings of music as an experimental discipline, which Jenny Gottschalk argues that “the focus (in experimental music) is ontological, on being in that collective space and what transpires in the place and time of the performance, and in the minds of those who attend”. (Gottschalk 2016) Phenomenological qualities such as temporal awareness and fluctuating attention are the primary concern of many composers today, but can be traced back to composers writing at around the time of Heidegger and Husserl.
 
For a composer to write with a phenomenological awareness, it may be assumed that the inherent musical meaning must be disregarded or, at the very least, not the primary concern of the music. The French composer Erik Satie, who described his music as musique d’ameublement or ‘furniture music’, wrote a piece for piano called Vexations (den Teuling and Kok 2012) in 1893. Vexations includes a short bass theme and accompanying semitonal chords which are repeated 840 times, producing an entirely cyclical work of around eight hours long, leading the listener towards an emancipation of sonic assumption and harmonic expectation.  Vexations was first performed by John Cage and a relay of pianists, including the co-founder of Velvet Underground John Cale. There is little research as to the reception of the performance, but the American musicologist Marc Thorman argues that Cage was influenced by this work, as “repetition (becomes) the main idea in Letters to Satie but Cage introduces new elements - superimposition, electronics and chance, both in the scores and in his extended performance.” (Thorman 2006)  
 
Historically, musical chronology, has grown out of a dichotomy between tension and resolution. This chronology is defined by Fred Lerdahl and Carol Krumhansl the contrast between “tensions as both sensory dissonance and cognitive dissonance or instability… (and resolution as) sensory consonance or cognitive consonance or stability.” (Lerdahl and Krumhansl 2007) In Satie’s music, although the harmonic language is not explicitly atonal (being the type of harmonic language the American musicologist Mark DeVoto refers to as “tonal chromaticism” (DeVoto, n.d.)), he quite often stays in a state of unresolved dissonance, with no explicit direction except in final cadential moments, which themselves are often sparse. A state of constant tonal chromaticism will naturally lead to an increase in the levels at which one perceives the music, as demonstrated below in Figure 1.

Figure 1 – The influence of Satie’s harmonic language on levels of perception