What characterizes the relationship between the reﬂexive/derivative/analytic and the unthematized/prior/immersed interpretative engagement with a string instrument (violin, viola, cello and double-bass) in praxis?
In this article, the phenomenological investigation of this relationship brings into light some unclear aspects of Heidegger’s discrimination between the ‘ready-to-hand’ and the ‘present-at-hand’ distinction in Being and Time. Furthermore, this analysis provides the background for some fundamental and extremely important nomenological instrumental-pedagogical reﬂections, which have not been adequately addressed in previous or current instrumental-pedagogical literature. Hence, this article examines some basic phenomenological insights and illustrates the importance and usefulness of these insights in future instrumental-pedagogical research.
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