The instrumentality of music

Journal of Aesthetics and Art Criticism

Volumn 66, Issue 1, 2008, Pages 37-51

  Alperson, Philip ^a  

^a TEMPLE UNIVERSITY   (United States)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 61249583810     PISSN: 00218529     EISSN: 15406245     Source Type: Journal    
DOI: 10.1111/j.1540-594X.2008.00286.x     Document Type: Review

References (29)

1. David Blum, Casals and the Art of Interpretation (University of California Press, 1977), p. vi.
2. See John Engel, Uncommon Sounds: The Left Handed Guitar Players That Changed Music. (Brussels, Belgium: Left Field Ventures sprl, 2006).
3. Blum, Casals and the Art of Interpretation, p. 133.
4. We might also mention in this regard the relatively recent phenomenon of nonsynchronous digital distance recording sessions in which performers at one physical location can create a virtual studio session, playing with other musicians at other physical locations in online recording sessions by trading, performing on, and altering MP3 files. See, for example, www.sessionplayer.com and www.esession.com.
5. See www.neilfeather.org.
6. See, for example, Theodore Gracyk, Rhythm and Noise: An Aesthetics of Rock (Duke University Press, 1996)
7. and Andrew Kania, "Making Tracks: The Ontology of Rock Music," The Journal of Aesthetics and Art Criticism 64 (2006): 402-414.
8. See Lydia Goehr, The Imaginary Museum of Musical Works (Oxford: Clarendon Press, 1992).
9. See Edward Rothstein, "Is It Live . or Yamaha? Channeling Glenn Gould," New York Times, March 12, 2007.
10. On the concept of norm kinds, see Nicholas Wolterstorff, Works and Worlds of Art (Oxford: Clarendon Press, 1980).
11. See, for example, Stephen Davies, "Authenticity in Musical Performance," The British Journal of Aesthetics 27 (1987): 39-50;
12. Stan Godlovitch, "Authentic Performance," The Monist 71 (1988): 258-273;
13. Jerrold Levinson, "Authentic Performance and Performance Means," in Levinson, Music, Art, & Metaphysics: Essays in Philosophical Aesthetics (Cornell University Press, 1990), pp. 393-408;
14. and Peter Kivy, Authenticities: Philosophical Reflections on Musical Performance (Cornell University Press, 1995).
15. See also Kendall Walton, "Depiction, Perception, and Imagination: Responses to Richard Wollheim," The Journal of Aesthetics and Art Criticism 60 (2002): 27-35
16. and Bence Nanay, "Is Twofoldness Necessary for Representational Seeing?" The British Journal of Aesthetics 45 (2005): 248-257.
17. See Roman Ingarden, The Ontology of the Work of Art, trans. Raymond Meyer with Jon. T. Goldthwait (Ohio University Press, 1989);
18. Joseph Margolis, What, After All, Is a Work of Art? (Penn State University Press, 1999);
19. Jerrold Levinson, Music, Art & Metaphysics, cited above;
20. Amie L. Thomasson, "The Ontology of Art," in The Blackwell Guide to Aesthetics, ed. Peter Kivy (Oxford: Blackwell, 2004), pp. 78-92
21. and "The Ontology of Art and Knowledge in Aesthetics," The Journal of Aesthetics and Art Criticism 63 (2005): 221-229;
22. and Stephen Davies, The Philosophy of Art (Maiden, Ma: Blackwell, 2006).
23. See Philip Alperson, "On Musical Improvisation," The Journal of Aesthetics and Art Criticism 43 (1984): 17-29.
24. and David Davies, Art as Performance (Malden, MA: Blackwell, 2004).
25. Peter Kivy, "Is Music an Art?" The Journal of Philosophy 88 (1991): 544-554.
26. Peter Kivy, Music Alone: Philosophical Reflections on the Purely Musical Experience (Cornell University Press, 1990), p. 202.
27. Philip Alperson, "The Arts of Music," The Journal of Aesthetics and Art Criticism 50 (1992): 217-230.
28. See Philip Alperson, "Instrumental Music and Instrumental Value," Journal of Aesthetic Education 27 (1992): 2-10.
29. See Philip Alperson, "Value Monism, Value Pluralism, and Music Education: Sparshott as Fox," Journal of Aesthetic Education 31 (1997): 19-30.