Ontology in the Core of Roman Ingarden's Phenomenology

This article considers the place of ontology in Ingarden’s realistic phenomenology. Roman Ingarden, Polish phenomenologist, was a well-known student of Husserl. Ingarden has criticized the transcendental idealism directly or indirectly determined the course of most of his later philosophical work. Ingarden clearly saw Husserl as turning from the realism of the Logical Investigations to a metaphysical form of transcendental idealism by the time the first volume of Ideas was published. Ingarden in On the Motives which led Husserl to Transcendental Idealism criticizes Husserl's idealistic approach, namely, transcendental idealism. Ingarden's body of work revolves not around aesthetics, but rather around the realism/idealism problem — an issue that was to dominate his thinking ever since, as a young man, he recoiled against Husserl's transcendental idealism. But we also consider ontology of musical work in Ingarden’s phenomenology. He believes that musical work has purely intentional objectivity not real objectivity.