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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.
First, the anti-aesthetic position diminishes the explanatory reach of the praxialist approach to music education and, second, the anti-aesthetic position is actually inconsistent with a ...
(1991), philosopher Philip Alperson outlined three possible "basic strategies" for understanding and explaining music and music education. He began by describing the "formalist aesthetic view" that originated with such
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 this paper I retrace the line of thought that led me to the position of a praxial philosophy of music education, from a perspective 20 years after the inaugural meeting of the International Society for the Philosophy of Music Education.
- Philip Alperson
- 2010
There are, however, two sorts of difficulties that a praxial view of music and of music education must face. The first is the question of the adequacy of the praxial view of art as a philosophy of art, a question that goes to the heart of how one conceives of the philosophy of art. For it will be seen that.
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Abstract. This volume, reproducing a special issue of The Journal of Aesthetics and Art Criticism on &"The Philosophy of Music&" (Winter 1994) with a revised introduction and two new articles, is distinguished by its breadth of content, diversity of approaches, and clarity of argument, which should make it useful for classroom teaching.
