Memory plays an integral role in music listening and music performance. But what specific memory structures do we employ when we engage with music? Taking Aristotle’s De memoria et reminiscentia as principle guide, I aim to press upon a matter of central interest to the phenomenologist of music, focusing on the relation between memory proper [µνήµη] and recollection [ἀνάµνησις]. Drawing upon Physics IV and De anima III , I clarify a two-fold temporal structure—a structure comprised of sensation and flowing continuity—at work in the experience of remembering. Finally, I claim that music, through the ordered expression of its successive sensations, pertains directly to ἀνάµνησις but supports access to µνήµη, as well.

中文翻译：

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通过 Μνήμη 和 Ἀνάμνησις 论音乐和记忆

记忆在音乐聆听和音乐表演中起着不可或缺的作用。但是，当我们接触音乐时，我们使用了哪些特定的记忆结构？以亚里士多德的 De memoria et reminiscentia 为原则指南，我的目标是强调音乐现象学家最感兴趣的问题，重点关注记忆本身 [µνήμη] 和回忆 [ἀνάμνησις] 之间的关系。借鉴物理 IV 和 De anima III，我阐明了在记忆体验中起作用的双重时间结构——一种由感觉和流动连续性组成的结构。最后，我声称音乐，通过其连续感觉的有序表达，与 ἀνάμνησις 直接相关，但也支持对 μνήμη 的访问。