ABSTRACT How does music (as Proust tells us) have the power to speak to us as if it were a living being, endowed with subjectivity? Do we empathize with music? Ordinarily we consider our perception of subjects as subjects, through empathy, to pertain to flesh-and-blood persons; this article asks how it is possible for us to empathize with the ordered movement of aural sensations in time. Drawing upon Edith Stein’s On the Problem of Empathy together with Edmund Husserl’s work on Querintentionalität and Längsintentionalität in Husserliana X, I show, first of all, how the temporal structure of inner time-consciousness pertains to the ordered structure of musical expression; secondly, I investigate how the other as other is given with respect to retention and protention. My claim is that musical expression, insofar as it partakes of the potentiality of protention in particular, is creative and opens the possibility for that which is other-than-myself.

中文翻译：

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普鲁斯特的小短语和移情体验-音乐的节奏结构探索。

摘要音乐（如普鲁斯特告诉我们的）如何具有向我们说话的能力，就好像它是一个具有主体性的生物一样？我们对音乐充满同情吗？通常，通过同理心，我们认为我们对主体的理解属于有血有肉的人。本文提出了一个问题，即我们如何能及时理解听觉的有序运动。借鉴伊迪丝·斯坦因的《共情的问题》，以及埃德蒙·胡塞尔在《胡塞尔里亚纳十世》中的Querintentionalität和Längsintentionalität的著作，我首先展示了内在时间意识的时间结构如何与音乐表达的有序结构有关；其次，我研究在保留和坚持方面如何给予另一个。我的主张是音乐表达