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For phenomenologists, intentional experience is lived through (erlebt), but does not appear in an objectified manner.
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Since intentionality is a crucial property of consciousness, according to Brentano, Husserl, et al., the character of intentionality itself would count as phenomenal, as part of what-it-is-like to experience a given type of intentional experience.
All three also manipulate temporality, the way that the performance unfolds through time, as part of the intentional experience of these arts in a way that is more pronounced and more variable than is the typical experience of appreciating a visual art like painting or sculpture.
Phenomenological description also yields the "moment of quality" of the intentional experience under investigation, i.e., the particular feature instantiating its psychological mode (judgement, conscious deliberation, conscious desire, conscious hope, etc)., which roughly corresponds to the speech act mode of an utterance giving voice to that experience.
In particular, to form a community, two or more individuals must share the same intentional experience, which is directed towards the same object; they must empathize with the experience of the counterpart, and they must reciprocally "unify" (where "reciprocal unification [Wechseleinigung]" can be defined as a positive intentional feeling of togetherness, cf. León and Zahavi 2015).
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Husserl maintained that all intentional experiences are in this sense 'objectifying acts'.
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Even objectless (i.e., empty) intentional experiences like your thought of the winged horse Pegasus have content.
These units of consciousness he labels intentional acts or intentional experiences, since they always represent something as something thus exhibiting what Brentano called intentionality.
Others endorsed the view that sensations are of or about objects: Linke, for example, argued that sensations are intentional experiences (1929, 164ff).
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Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com