在二十世紀所展開之多元紛陳的哲學性論證中，由現象學延伸出來的相關音樂美學論述仍是個方興未艾的現象。本文首先簡述現象學之基本要義，主要以現象學開山鼻祖胡塞爾（Edmund Husserl, 1859-1938）的基本論點為敘述脈絡，帶出人類主體意識之意向性，以及現象之本質與還原等問題，並引介界域、世界、主體際性等概念；其次進入音樂現象學與藝術美學的部分，著重在波蘭現象學大師羅曼‧英加登（Roman Ingarden, 1893-1970）的著作《音樂作品與其同一性問題》（1933）與法國現象學美學大師杜夫海納（Mikel Dufrenne,1910-1995）的著作《審美經驗現象學》（1953）之引述及闡釋，藉以釐清從現象學所引發之藝術本質等問題的探討；最後進入德布西（Claude Debussy, 1864-1918）之音樂世界，藉由之前的論理與省思，探看音樂現象學所帶來之啟發。

Among the multi-dimensional discourses of philosophy in the 20th century, the discussion of music aesthetics related to Phenomenology is still in the ascendant. In the present study, a basic theory of Phenomenology from Edmund Husserl (1859-1938) is stated at first, then the concepts of intentionality, eidetic reduction, horizon, world, and intersubjectivity are discussed. Furthermore,Phenomenology of music and art is brought to attention by the introduction of Roman Ingarden’s The Work of Music and the Problems of its Identity (1933) and Mikel Dufrenne’s The Phenomenology of Aesthetic Experience (1953). Finally, Debussy’s music is analyzed and discussed from the perspective of Phenomenology.