Using examples from musical performance of several kinds, we argue that risk-taking, showing off, virtuosity, and other forms of musical showmanship are in many cases, though not in all, an integral and appropriate part of the music as performed on that occasion. We reflect on the difference between cases where this is so and cases where it is not, using insights from John Dewey’s aesthetics as articulated in Art as Experience
Variations on the act of listening: Twenty-one orchestra audience development events in light of Joh...
Virtuosity is a concept that has the double advantage of being transverse with respect to different ...
Musical formalism, which strictly limits the type of thing any description of the music can tell us,...
Using examples from musical performance of several kinds, we argue that risk-taking, showing off, vi...
In the philosophy of music and in musicology, aprt from ethnomusicology, there is a long tradition o...
Engaging with recent ideas about the moral evaluation of art, I argue that facts about the lifestyle...
This paper is concerned with popular music performance. It investigates the importance of performanc...
Is there such a thing in music as meaning? This question has been made several times in the history ...
Performing arts have by nature the possibility to emotionally involve the audience in ways, which ar...
Understanding performance can not only increase our theoretical grasp of music but reveal something ...
The purpose of this article is to complete, and build on, the theories of a certain number of schola...
When the word play is used to describe music-making, the implication is that play is a sophisticated...
Containing tasks, activities and reflections to help student-teachers to integrate the theory and pr...
Our private perception of listening to an individualized playlist during a jog is very different fro...
Philosophical discussion of artistry in performance has focused on the relation of performers to mus...
Variations on the act of listening: Twenty-one orchestra audience development events in light of Joh...
Virtuosity is a concept that has the double advantage of being transverse with respect to different ...
Musical formalism, which strictly limits the type of thing any description of the music can tell us,...
Using examples from musical performance of several kinds, we argue that risk-taking, showing off, vi...
In the philosophy of music and in musicology, aprt from ethnomusicology, there is a long tradition o...
Engaging with recent ideas about the moral evaluation of art, I argue that facts about the lifestyle...
This paper is concerned with popular music performance. It investigates the importance of performanc...
Is there such a thing in music as meaning? This question has been made several times in the history ...
Performing arts have by nature the possibility to emotionally involve the audience in ways, which ar...
Understanding performance can not only increase our theoretical grasp of music but reveal something ...
The purpose of this article is to complete, and build on, the theories of a certain number of schola...
When the word play is used to describe music-making, the implication is that play is a sophisticated...
Containing tasks, activities and reflections to help student-teachers to integrate the theory and pr...
Our private perception of listening to an individualized playlist during a jog is very different fro...
Philosophical discussion of artistry in performance has focused on the relation of performers to mus...
Variations on the act of listening: Twenty-one orchestra audience development events in light of Joh...
Virtuosity is a concept that has the double advantage of being transverse with respect to different ...
Musical formalism, which strictly limits the type of thing any description of the music can tell us,...