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1. academic.oup.com › jaac › article-abstractThe Instrumentality of Music - Oxford Academic

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   Feb 13, 2008 · You look through the soundproof glass and you see a man, transfixed, concentrating on his music as he plays his musical instrument. You see Pablo Casals with his cello. What could be clearer than this?

2. www.semanticscholar.org › paper › TheThe Instrumentality of Music | Semantic Scholar

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   A new kind of digital musical instrument, a novel assemblage of the familiar MIDI keyboard with custom interactive software, inspired by John Cage's prepared piano, which aims to inspire a playful approach to instrument building, composition, and performance. Expand. 3. PDF. 1 Excerpt.

3. onlinelibrary.wiley.com › doi › absThe Instrumentality of Music - ALPERSON - 2008 - The Journal ...

   onlinelibrary.wiley.com › doi › abs

   Feb 13, 2008 · Department of Philosophy Temple University Philadelphia, Pennsylvania 19122 internet: alperson@temple.edu. Search for more papers by this author

4. www.bbc.com › news › in-pictures-42083213Year in pictures 2017 - BBC

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   26 December 2017. Our selection of some of the most powerful news photographs taken around the world this year. ABIR SULTAN/ EPA. An Eritrean Orthodox Christian pilgrim was baptised, during...

5. act.maydaygroup.org › articles › Regelski10_2Action, Criticism & Theory for Music Education - MayDay Group

   act.maydaygroup.org › articles › Regelski10_2

   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

6. www.semanticscholar.org › paper › The-Philosophy-ofThe Philosophy of Music: Formalism and Beyond - Semantic Scholar

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   Jan 21, 2008 · What Should One Expect from a Philosophy of Music Education. Philip Alperson. Philosophy, Education. 1991. 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,….

7. People also ask

   Who is Philip Alperson?

   • Philip Alperson is an Associate Professor of Philosophy and Chair, Division of Humanities, at the University of Louisville. He has edited The Philosophy of the Visual Arts and What is Music?

   What Should One Expect from a Philosophy of Music Education?

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   What is Philip Alperson's philosophy of music?

   • Philip Alperson's philosophy of music consists in the critical examination of our beliefs about the nature and function of music. It includes an inquiry into the various aspects of music making and the production of music generally. (ideally, it would provide this examination).

   What Should One Expect from a Philosophy of Music Education?

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   What is the significance of Philip alpersonture?

   • Philip Alperson's philosophy focuses on the skills and productive human activity that bring musical works into being, as understanding the results of human action cannot be adequately understood apart from the motives. This is significant in music education.

   What Should One Expect from a Philosophy of Music Education?

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   What is Philip Alperson sensibility?

   • Philip Alperson's sensibility in music education serves to enhance our understanding of feeling or refine the capacity to feel. These claims are common features of expression theories of art.

   What Should One Expect from a Philosophy of Music Education?

   www.jstor.org/stable/3333004

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   What is Philip Alperson thetic apprehension?

   • Philip Alperson's 'thetic apprehension' refers to the cognitive process of gaining knowledge about reality through the expressive, representational, and symbolic properties of music. This view is cognitive in nature.

   What Should One Expect from a Philosophy of Music Education?

   www.jstor.org/stable/3333004

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8. www.jstor.org › stable › 3333004What Should One Expect from a Philosophy of - JSTOR

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   Philip Alperson is Associate Professor of Philosophy and Chair, Division of Humanities, at the University of Louisville. He has edited The Philosophy of the Visual Arts and What is Music? An Introduction to the Philosophy of Music and contributed ar-ticles to such publications as the Journal of Aesthetics and Art Criticism, the International