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In a seminal article, Philip Alperson (1991) first argued that a proper philosophy of music and music education should account for all musical praxis. Nonetheless, his introduction of the concept of praxis into the philosophical discourse of music education seems to occasion
Feb 13, 2008 · Musical instruments are the sorts of things one finds for sale in music stores. Musicians take these objects and, by holding them, hitting them, blowing through them, plucking and scraping them, pressing on keys, and so on, produce the sounds of music. This much seems obvious.
Feb 13, 2008 · Department of Philosophy Temple University Philadelphia, Pennsylvania 19122 internet: alperson@temple.edu. Search for more papers by this author
There is a puzzle about music. On the one hand, whether we are performers or members of an audience, whether in the rarified atmosphere of a recital hall or in the confines of the shower stall, whether our interest is in Mozart or in the blues, whether we study music in the structured context of a university classroom or chance upon it on a car radio, whether we have years of concert ...
Alperson, Elliott deliberately focused on elaborating what he took to be a prevalent concept of music as an aesthetic object, arguing that ‘musical works involve many kinds of meanings’, and thereby reminding his readers that musical understanding of
Dec 10, 2016 · Philip Alperson, in his ‘The Instrumentality of Music’, elucidates how questions such as these have led him to problematise and qualify the “commonsense view of musical instruments”, according to which “musical instruments are devices that performers use to make music” (Alperson 2008, p. 38).
Jan 1, 2004 · The full text of this article hosted at iucr.org is unavailable due to technical difficulties.
