Edwina: True appreciation of Mozart’s music demands that you hear it

Edwina: True appreciation of Mozart’s music demands that you hear it exactly as he intended it to be heard; that is, exactly as he heard it. Since he heard it on eighteenth-century instruments, it follows that so should we.

Alberto: But what makes you think that Mozart ever heard his music played as he had intended it to be played? After all, Mozart was writing at a time when the performer was expected, as a matter of course, not just to interpret but to modify the written score.

Alberto adopts which one of the following strategies in criticizing Edwina’s position?


(A) He appeals to an academic authority in order to challenge the factual basis of her conclusion. - no, the fact that mozart heard his music on 18th century instruments is not challenged.

(B) He attacks her judgment by suggesting that she does not recognize the importance of the performer’s creativity to the audience’s appreciation of a musical composition. - no, alberto is attacking the premise edwina has used to draw her conclusion.

(C) He defends a competing view of musical authenticity. - nah.

(D) He attacks the logic of her argument by suggesting that the conclusion she draws does not follow from the premises she sets forth.- no. Conclusion if Edwina is that music should be heard on instruments from 18th century models . Alberto is saying performers used to modify the song so mozart may not have heard what he wrote.

(E) He offers a reason to believe that one of the premises of her argument is false. - exactly the answer. How because alberto says performers used to modify the written musical notes when they played. True appreciation of music maybe the modified version as played on stage rather than as written. E is the answer.

Posted from my mobile device