ABSTRACT
The word Stimmung has the advantage of being part of an etymological mycelium that brings forth the complexity of the phenomenon at its different stages, so the establishment of the term attunement' later may seem to be a risky business. However, this chapter draws upon the sedimentary insights to be found in Stimmung, and therefore try to keep the internal connections intact when using attunement. In the phenomenon of musical attunement, the temporality of the music is the temporality of the listener, and that accounts for the spatiality, mobility and materiality too. The chapter describes different dimensions of the musical world in which the listener partakes, being musically attuned. Attunemental elucidation is not characterized by identifying the attunement of the music, but by testifying the emerging world of that music. Most interestingly, Hans Ulrich Gumbrecht assumes that the element of Stimmung is transported into literary criticism, herewith repeating Heidegger's urge concerning philosophy, albeit in a more modest way.
