ABSTRACT
When, e.g., a familiar melody begins, it stirs up definite intentions which find their fulfilment in the melody’s gradual unfolding. The same is the case even when the melody is unfamiliar. The regularities governing melody as such, determine intentions, which may be lacking in complete objective definiteness, but which nonetheless find or can find their fulfilments. As concrete experiences, these intentions are of course fully definite: the ‘indefiniteness’ of what they intend is plainly a descriptive peculiarity pertaining to their character. We may say, in fact, with correct paradox (as we did before in a similar case) that ‘indefiniteness’ (i.e. the peculiarity of demanding an incompletely determined completion, which lies in a ‘sphere’ circumscribed by a law) is a definite feature of such an intention. Such an intention has not merely a range of possible fulfilment, but imports a common fulfilmentcharacter into each actual fulfilment from this range. The fulfilment of acts which have definite or indefinite intentions is phenomenologically different, and the same holds of fulfilments of intentions whose indefiniteness points in this or that direction of possible fulfilment.
