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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
Feb 13, 2008 · It is hard to overestimate the importance of the idea of the musical instrument in our appreciation of music and our understanding of musical practice. We think of music as a performing art and, typically, we think of the performer as performing on a musical instrument.
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
Jan 1, 2014 · This chapter draws on material from Alperson, ‘Facing the Music: Voices from the Margins;’ and Alperson and Carroll, ‘Music, Mind, and Morality: Arousing the Body Politic’ [2, 4]. Philosophical discussion of the moral significance of music has ancient roots.
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).
Aug 13, 2020 · A novice stops after a mistake, a perfectionist conceals it—and an imperfectionist exploits or develops it. As Thelonious Monk complained, following a performance he found unsatisfying: “I made the wrong mistakes” (Feurzeig 2011, 30). In post-bebop jazz, Parker's “half-step rule” was reformulated.
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 ...
