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Feb 13, 2008 · Department of Philosophy Temple University Philadelphia, Pennsylvania 19122 internet: alperson@temple.edu. Search for more papers by this author
- Philip Alperson
- 2008
Imagine that you were fortunate enough to have been in the sound room of the HMV recording studio in London in the 1930s for the legendary performances by Pablo Casals of Bach's Suites for Unaccompanied Cello. 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 ...
Feb 21, 2020 · (2017) interviewed the members of a chamber ensemble who had experienced Dalcroze Eurhythmics classes designed specifically to support their interpretation of certain pieces.
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.
Dec 1, 2017 · Chapter PDF Available. Instrumentality. On the Construction of Instrumental Identity. December 2017. DOI: 10.1007/978-981-10-2951-6_2. In book: Musical Instruments in the 21st Century (pp.9-24 ...
Dec 10, 2016 · The idea of music’s “full instrumentality” (p. 50) as conceived by Alperson, then, recognises both its aesthetic and “nonaesthetic” (socially instrumental) (p. 49) artistic values.
Jan 21, 2008 · 2017 The reflections on music are crucial in the philosophy of language and the mind of the second Wittgenstein. These reflections go around the comparisons Wittgenstein did between meaning and …
