Study of the Ontology of the Work of Music in the Phenomenology of Bruce Ellis Benson's Theory of The Improvisation of Musical Dialogue

Bruce Ellis Benson, in his phenomenological theory, "The Improvisation of Musical Dialogue", points out that in the creation and performance of a musical work, there is always a platform for improvisation that brings the composer, performer, and listener into a kind of discourse which is always open to any subsequent conversions or adjustments. Through hermeneutic phenomenology, he presents his theory in the context of Western classical music and jazz with an overview of musical traditions and applications. The purpose of this study was to explain the concepts proposed by Benson's concept of improvisation, including the ontology of the musical work, the originality, and the identity of the musical work. The improvisational theory of musical discourse is a poststructuralist theory and introduces the basis of music as improvisation, which always has an interpretive nature. Musical tradition and practice as a world are important for a dialogue in music. Instead of playing the composer as the sole creator of music, Benson considers the piece to have a fluid identity that always continues to exist with the performances and interpretations of an experienced performer familiar with the tradition and practice of that music. In this research, which is in the category of qualitative research, the research method has been applied in terms of purpose and descriptive-analytical in terms of method. All material is obtained through the library method.