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Philip Alperson [43]Philip A. Alperson [1]Philip Alan Alperson [1]
  1. On musical improvisation.Philip Alperson - 1984 - Journal of Aesthetics and Art Criticism 43 (1):17-29.
  2.  86
    What Should One Expect from a Philosophy of Music Education?Philip Alperson - 1991 - The Journal of Aesthetic Education 25 (3):215.
  3.  73
    The instrumentality of music.Philip Alperson - 2008 - Journal of Aesthetics and Art Criticism 66 (1):37–51.
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  4.  23
    The philosophy of music : Formalism and beyond.Philip Alperson - 2004 - In Peter Kivy (ed.), The Blackwell Guide to Aesthetics. Oxford, UK: Blackwell. pp. 254–275.
    This chapter contains sections titled: Formalism Enhanced Formalism Beyond Formalism.
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  5.  33
    The Instrumentality of Music.Philip Alperson - 2008 - Journal of Aesthetics and Art Criticism 66 (1):37-51.
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  6. Musical time" and music as an "art of time.Philip Alperson - 1980 - Journal of Aesthetics and Art Criticism 38 (4):407-417.
  7. A Topography of Improvisation.Philip Alperson - 2010 - Journal of Aesthetics and Art Criticism 68 (3):273-280.
     
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  8. Schopenhauer and musical revelation.Philip Alperson - 1981 - Journal of Aesthetics and Art Criticism 40 (2):155-166.
  9. Improvisation: An Overview.Philip Alperson - 1998 - In Michael Kelly (ed.), Encyclopedia of aesthetics. New York: Oxford University Press. pp. 2--478.
     
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  10. Music, mind, and morality: Arousing the body politic.Philip Alperson & Noël Carroll - 2008 - Journal of Aesthetic Education 42 (1):1-15.
    In lieu of an abstract, here is a brief excerpt of the content:Music, Mind, and Morality:Arousing the Body PoliticPhilip Alperson (bio) and Noël Carroll (bio)I. IntroductionIf like Aristotle one agrees that the responsibility of philosophy is to offer as comprehensive a picture of phenomena as possible, then one must admit that sometimes the methods and goals of analytic philosophy stand in the way of getting the job done properly; they may even distort one's findings. This is not said in order (...)
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  11.  51
    Creativity in art.Philip Alperson - 2003 - In Jerrold Levinson (ed.), The Oxford handbook of aesthetics. New York: Oxford University Press. pp. 249--50.
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  12.  76
    What Is a Temporal Art?Jerrold Levinson & Philip Alperson - 1991 - Midwest Studies in Philosophy 16 (1):439-450.
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  13. What is music?: an introduction to the philosophy of music.Philip Alperson (ed.) - 1987 - University Park, Pa.: Pennsylvania State University Press.
    Contributors to this volume are Philip Alperson, Francis Sparshott, Nicholas Wolterstorff, Edward T. Cone, Peter Kivy, Jenefer Robinson, Joseph Margolis, Arnold ...
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  14.  48
    The arts of music.Philip Alperson - 1991 - Journal of Philosophy 88 (10):555-556.
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  15. The arts of music.Philip Alperson - 1992 - Journal of Aesthetics and Art Criticism 50 (3):217-230.
  16. Diversity and Community: An Interdisciplinary Reader.Philip Alperson (ed.) - 2002 - Malden, MA: Wiley-Blackwell.
    _Diversity and Community: An Interdisciplinary Reader _is a collection of essays exploring the notion of community in its many theoretical, practical, and cultural manifestations. A collection of specially commissioned essays exploring the notion of community in its many theoretical, practical, and cultural manifestations. Discusses the idea of community in its full, cultural context. Deals with issues confronting many diverse groups, including African American, Franco-Canadian, computer-mediated, and gay and lesbian communities. Includes contributions by both eminent schlars and new voices, among them (...)
     
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  17.  46
    Diversity and Community: An Interdisciplinary Reader.Philip Alperson (ed.) - 2002 - Malden, MA: Wiley-Blackwell.
    _Diversity and Community: An Interdisciplinary Reader_ is a collection of essays exploring the notion of community in its many theoretical, practical, and cultural manifestations. A collection of specially commissioned essays exploring the notion of community in its many theoretical, practical, and cultural manifestations. Discusses the idea of community in its full, cultural context. Deals with issues confronting many diverse groups, including African American, Franco-Canadian, computer-mediated, and gay and lesbian communities. Includes contributions by both eminent schlars and new voices, among them (...)
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  18. Diversity and Community.Philip Alperson (ed.) - 2004-01-01 - Blackwell.
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  19. Ernest Bloch, Essays on the Philosophy of Music Reviewed by.Philip Alperson - 1986 - Philosophy in Review 6 (10):464-467.
     
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  20.  24
    Editorial note.Philip Alperson - 1993 - Journal of Aesthetics and Art Criticism 51 (4).
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  21.  26
    Englischsprachige Philosophie der Musik: Ein Blick von Irgendwo.Philip Alperson - 2009 - Deutsche Zeitschrift für Philosophie 57 (6):879-884.
    Contemporary Anglophone philosophy of music has eschewed traditional philosophical concerns about the place of music in human affairs, concentrating instead on a more restricted domain of musical meaning related to aesthetic considerations which are ultimately tied to the concept of disinterested aesthetic experience. I argue that this emphasis needs to be supplemented by an attention to the “instrumentality” of music, understanding music in relation to questions of the social and cultural purposes that music might serve and thereby broadening the idea (...)
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  22. Facing the music: Voices from the margins.Philip Alperson - 2009 - Topoi 28 (2):91-96.
    Recent philosophy of music in the Anglophone analytic tradition has produced many fine-grained analyses of musical practices within the context of the Western fine-art tradition. It has not for the most part, however, been self-conscious about the normative implications of that orienting tradition. As a result, the achievements of recent philosophical discussions of music have been unnecessarily constricted. The way forward is to enrich the range of musical practices philosophy takes as its target of examination.
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  23.  40
    Hegel and the Limits of Musical Expression.Philip Alperson & Martin Donougho - 1988 - Philosophie Et Culture: Actes du XVIIe Congrès Mondial de Philosophie 3:659-664.
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  24. Introduction: Diversity and community.Philip Alperson - 2002 - In Diversity and Community: An Interdisciplinary Reader. Blackwell. pp. 1--30.
     
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  25.  5
    Introduction: Diversity and Community.Philip Alperson - 2004-01-01 - In Diversity and Community. Blackwell. pp. 1–30.
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  26.  22
    Instrumental Music and Instrumental Value.Philip Alperson - 1993 - The Journal of Aesthetic Education 27 (1):2.
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  27.  53
    Introduction: New directions in the philosophy of music.Philip Alperson - 1994 - Journal of Aesthetics and Art Criticism 52 (1):1-11.
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  28. Music education.Philip Alperson - 2011 - In Theodore Gracyk & Andrew Kania (eds.), The Routledge Companion to Philosophy and Music. Routledge.
     
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  29.  8
    Musical Worlds: New Directions in the Philosophy of Music.Philip Alperson - 1998 - Pennsylvania State University Press.
    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. The topics covered include musical representation, the expression of feeling in music, the metaphysics of operatic speech and song, musical understanding, musical composition, feminist music theory, music and politics, music (...)
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  30.  20
    Notes from the editor.Philip Alperson - 2003 - Journal of Aesthetics and Art Criticism 61 (1):3–4.
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  31.  11
    Notes from the Editor.Philip Alperson - 2003 - Journal of Aesthetics and Art Criticism 61 (1):3-4.
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  32.  12
    Neubauer, Jottn. The Emancipation of Music From Language: Departure From Mimesis in Eighteenth-Century Aesthetics.Philip Alperson - 1988 - Journal of Aesthetics and Art Criticism 46 (3):441-444.
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  33.  28
    Robust Praxialism and the Anti-Aesthetic Turn.Philip Alperson - 2010 - Philosophy of Music Education Review 18 (2):171-193.
    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. I discuss how I conceive of the general project of the philosophy of music education and recapitulate some of the strategies that might be deployed. In doing this I stress the “robust” or radical nature of the praxial program. I (...)
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  34.  27
    The Arts of Music.Philip Alperson - 1991 - Journal of Philosophy 88 (10):555-556.
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  35. The Philosophy of the visual arts.Philip Alperson (ed.) - 1992 - New York: Oxford University Press.
    Most instructors who teach introductory courses in aesthetics or the philosophy of arts use the visual arts as their implicit reference for "art" in general, yet until now there has been no aesthetics anthology specifically orientated to the visual arts. This text stresses conceptual and theoretical issues, first examining the very notion of "the visual arts " and then investigating philosophical questions raised by various forms, from painting, the paradigmatic form, to sculpture, photography, film, dance, kitsch, and other forms on (...)
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  36.  16
    The Philosophy of the Visual Arts.Philip A. Alperson - 1993 - Journal of Aesthetics and Art Criticism 51 (3):525-525.
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  37.  87
    The sounding of the world: Aesthetic reflections on traditional Gong music of vietnam.Philip Alperson, B. E. N. Chí & To Ngoc Thanh - 2007 - Journal of Aesthetics and Art Criticism 65 (1):11–20.
  38.  39
    The Sounding of the World: Aesthetic Reflections on Traditional Gong Music of Vietnam.Philip Alperson, Nguyễn Chí Bến & To Ngoc Thanh - 2007 - Journal of Aesthetics and Art Criticism 65 (1):11 - 20.
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  39.  43
    The Sounding of the World: Aesthetic Reflections on Traditional Gong Music of Vietnam.Philip Alperson, Nguyen Chí Ben & To Ngoc Thanh - 2007 - Journal of Aesthetics and Art Criticism 65 (1):11-20.
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  40.  39
    Value Monism, Value Pluralism, and Music Education: Sparshott as Fox.Philip Alperson - 1997 - The Journal of Aesthetic Education 31 (2):19.
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  41. 7. in memoriam.Deanne Bogdan, David Carr, Iris M. Yob, Anthony J. Palmer & Philip Alperson - 2010 - Philosophy of Music Education Review 18 (2).
     
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  42.  4
    Vollkommenes hält sich fern. Ästhetische Näherungen.Andreas Dorschel & Philip Alperson - 2012 - Universal Edition.
    In ‘Vollkommenes hält sich fern’ (‘Perfection keeps itself aloof’) – the book title is drawn from a verse of American poet Kimberly Johnson (*1971) –, Philip Alperson and Andreas Dorschel discuss issues in the philosophy of music and general aesthetics related to the body, to practices and genres, values and education.
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  43.  15
    Thinking about Music: An Introduction to the Philosophy of Music.Philip Alperson - 1984 - Journal of Aesthetics and Art Criticism 42 (4):452-455.
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  44. Ernst Bloch, Essays on the Philosophy of Music. [REVIEW]Philip Alperson - 1986 - Philosophy in Review 6:464-467.
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