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PHILIP ALPERSON is assistant professor of philosophy at University of Louis1 ille. music historians have discussed musical improvisation at greater length. But it is not always clear just what is being dis-cussed. Sometimes the activity under dis-cussion seems to be a variety of perfor-mance, sometimes a kind of composition,
In a seminal article, Philip Alperson (1991) first argued that a proper philosophy of music and music education should account for all musical praxis.
- Abstract
- Introduction
- General Critique
- The Taxonomy
- A New Condition
- Four-Dimensional Works of Art
- Endnotes
This article examines the fourteen conditions constituting Levinson and Alperson’s taxonomy of conditions for temporal arts. It claims that some of the conditions and several of the lists of arts exemplifying them need revision. It recommends adding a new condition concerned with the effects of the passage of time on gardens, environmental sculptur...
In "What Is a Temporal Art?," Jerrold Levinson and Philip Alperson answer the title’s question by proposing a list of conditions, one or more of which is sufficient to classify an art work as temporal.They situate their argument in the context of well-known claims by Gotthold Lessing, Victor Zukerkandl, and others that some arts, such as music, are...
I will now clarify what I mean by the word 'time' because my use of that word has a bearing on my analysis of Levinson and Alperson’s paper. I adopt the meaning of time from Thomas Clifton in Music as Heardas interpreted by Jonathan Kramer. This meaning is concise, uses straightforward language, and emphasizes the evental, processual, and temporal ...
In this section I quote Levinson and Alperson’s fourteen conditions in turn and consider each of them in the paragraph(s) following its quotation. I agree with the authors that this condition is so widely inclusive that it is not useful for their project. I agree with them that all art objects and events, and our experiences of them, have a duratio...
There exists one inescapably important temporal feature that is not considered anywhere in the taxonomy. This feature affects some architecture and installations, all gardens, and some environmental sculpture, and might be reflected in a new condition reading as follows: I claim that this proposed condition is of fundamental importance to the art o...
In their conclusion, Levinson and Aplerson suggest that their work could be extended by responding to two questions: First, which art is the "most" temporal, and on what basis might that be determined? And, second, do some of their conditions for temporality carry with them more aesthetic significance than others? I agree with the authors that an O...
Jerrold Levinson and Philip Alperson, "What Is a Temporal Art?," Midwest Studies in Philosophy, 16 (1991), 439-50.Levinson and Alperson, p. 447.Jonathan D. Kramer, The Time of Music: New Meanings, New Temporalities, New Listening Strategies(London, New York: Schirmer Books, 1988).Kramer, p. 5.- John Powell
- 2015
Feb 13, 2008 · Clearly, the idea of musical instruments has great importance to our thinking about music, to ways in which music is produced and performed, and to ways in which we appreciate music. In this paper, I would like to take a close philosophical look at the fundamental idea of music as a practice involving instruments.
Alperson, Phil, ed. Musical Worlds: New Directions in the Philosophy of Music. [REVIEW] Sarah Worth - 1999 - Review of Metaphysics 53 (2):425-426. Rock 'n' Recording: The Ontological Complexity of Rock Music.
- Philip Alperson
Feb 13, 2008 · PHILIP ALPERSON. Department of Philosophy Temple University Philadelphia, Pennsylvania 19122 internet: alperson@temple.edu. Search for more papers by this author
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218 Philip Alperson position to provide, first of all, a philosophy of music, which, ideally would consist in the critical examination of our beliefs about the nature and func-tion of music, including a philosophical consideration of the various aspects of music making and the production of music generally, an inquiry into the
