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This book explores the various reconstructions of Ferruccio Busoni (1866-1924) as a musician and an aesthetician, and then demonstrates how Husserlian Phenomenology can act as a complementary structure to Busoni s music and aesthetic beliefs. Prior models of phenomenological analysis are discussed, and a fresh methodology is introduced alongside a new form of analysis: Temporal Intentionality Graphs. Further, a new term is created, metatonal, which reflects music like Busoni s that is both with and after tonality but is not free atonal in the manner of the Second Viennese School nor just a matter of tonal harmony with chromatic colouration. Five analyses are presented that employ this new methodology and which uncover the inner workings of Busoni s compositions: Nach der Wendung (1907), Fantasia nach J.S. Bach (1909), Berceuse Élégiaque (1909), Sonatina Seconda (1912) and Nocturne Symphonique (1913). The book concludes with a critical appraisal of the method and its application, and an outline for how the analysis can be used by music theorists to explore similarly woven compositions.