RDS Volume 4, No. 1
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ItemBook Review: The Truth of Music: Empire, Law, and Secrecy(University of Hawaii at Manoa -- Center on Disability Studies, 2008)Author: Henry Kingsbury Reviewer: Sarah Schmalenberger Publisher: Full Court Press, 2005 Paper, ISBN: 0-9769269-0-3, 135 pages Cost: $14.45USD
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ItemMusic Review: Nutters with Attitude(University of Hawaii at Manoa -- Center on Disability Studies, 2008)Artist: Various, for Mad Pride Reviewer: Lizzie Walker, postgraduate student, Centre for Disability Studies, Leeds University Produced: 2001 Cost: £4.50 UK & EU (incl. Postage)/£5 international plus 30% for airmail http://www.activedistribution.org/index.php or ACTIVE DISTRIBUTION, BM ACTIVE, LONDON, WC1N 3XX, UK
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ItemBook Review: Sounding Off: Theorizing Disability in Music(University of Hawaii at Manoa -- Center on Disability Studies, 2008)Editors: Neil Lerner and Joseph N. Straus. Foreword by Rosemarie Garland-Thomson. Reviewer: Kevin Schwandt, School of Music, University of Minnesota Publisher: Routledge, 2006 Paper, ISBN: 0-415-97907-2, 312 pages.
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ItemLife and Livelihood: Musicians Coping with Breast Cancer(University of Hawaii at Manoa -- Center on Disability Studies, 2008)Cancer survivorship -- an emerging research field, may be particularly helpful in understanding the physical effects of breast cancer and treatment on musicians. The National Cancer Institute reports that breast cancer survivors comprise the largest cohort of documented cancer survivors in the United States overall, representing 40% of female survivors. Nevertheless, the problems routinely encountered by breast cancer patients following treatment – such as lymph edema, post-surgical neuropathy, shoulder morbidity, post-radiation contracture, chronic fatigue, immune deficiency, and chronic pain – have not been extensively studied. Problems routinely encountered by breast cancer patients – such as lymph edema, post-surgical neuropathy, shoulder morbidity, post-radiation contracture, chronic fatigue, immune deficiency, and chronic pain – may be especially burdensome to musicians. Musicians depend upon their torsos and arms in their professional work, precisely the areas most affected by surgical procedures and adjuvant therapies. From holding an instrument to using lungs and arms to produce sound, a woman’s torso is the core of her livelihood. Performing arts medicine, a discipline derived from sports and occupational medicine, could easily support studies in rehabilitative health for breast cancer patients. As yet, however, no one has studied the problem of musician’s injuries from a non-occupational catalyst. Research into the long-term medical and occupational impact of breast cancer is needed so that best practices – both in treatment and rehabilitation – can be identified and developed, to bring about best outcomes for all patients, including, specifically, women musicians. The Life and Livelihood Study, commencing in September 2007, seeks to understand issues faced by women musicians with breast cancer, and clarify how the care of such women can be improved. This qualitative study will develop a profile of the impact of breast cancer and medical treatment for breast cancer on women musicians, toward facilitating a broader understanding of breast cancer survivorship issues in general. This essay describes the research problem of musicians' survivorship after breast cancer, and argues for further examination of the impact of breast cancer not only on musicians, but also on those in other fields where physical fitness, strength, and stamina are vital to occupational and general well-being.
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ItemThe Implementation of Batia Strauss's Method of Active Listening to Music with Didactic and Therapeutic Aims during Music Classes in Polish Public Schools(University of Hawaii at Manoa -- Center on Disability Studies, 2008)The article chronicles the implementation of Active Listening to Music, a pedagogical method developed by Batia Strauss that has become extremely popular in Poland in recent years. Strauss, working at Levinsky College for Teachers in Tel Aviv and managing the Branch of Music Teaching at the Jerusalem Music Academy, led workshops for a wide circle of participants worldwide. This article includes aims and forms of music therapy as used in Polish schools, a description of the method of Batia Strauss, particularly its therapeutic features, and means of implementation of elements of Strauss’s method through a variety of music therapy techniques as adapted in Poland.
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ItemRobert Ashley and the Tourettic Voice(University of Hawaii at Manoa -- Center on Disability Studies, 2008)This article explores notions of subjectivity and voice in American composer Robert Ashley’s composition, “Automatic Writing.” Ashley links his own (alleged) experience of Tourette Syndrome with his compositional process. The “Tourettic voice” that emerges in Ashley’s music challenges normative conceptions of unified subjectivity and the ontology of presence.
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ItemThe Gift(University of Hawaii at Manoa -- Center on Disability Studies, 2008)This paper, invoking Mauss, will describe a series of musical gifts given to and by Paul Wittgenstein (1887-1961), celebrated one-armed pianist. In 1915, after losing an arm in the war, Wittgenstein was given a remarkable gift: His teacher, the blind organist and composer Josef Labor (1842-1924), presented Wittgenstein with three newly-composed works for a one-armed pianist. Wittgenstein promptly reciprocated Labor’s gift by performing these works near Prague. Far more significantly: Wittgenstein’s response to Labor’s gift was not limited to playing these works. A gift “receives its meaning… from the response it triggers” (Bourdieu, 1977, p. 5), and Wittgenstein answered Labor’s gift by devoting the rest of his life to being a one-armed concert artist. Wittgenstein’s long career can be seen as reciprocation for Labor’s original gift. But Wittgenstein has given us a gift, as well. Wittgenstein was “intrigued with how genius would handle this unusual problem” (Flindell, 1971 p. 114), and between 1923 and 1950, he commissioned works from numerous composers (R. Strauss, Britten, Prokofieff, others), the most important of which was by Ravel. Ravel’s concerto not only demands breath-taking virtuosity from the soloist (most of the Wittgenstein repertoire does this), but also involved structural complexities not found in the standard repertoire (Kingsbury pp. 56-59). However: Ravel rather intensely disliked Wittgenstein’s manner of playing, and in 1936 Ravel assigned his concerto to a two-handed pianist. Nowadays, the “Wittgenstein repertoire” is mainstream repertoire. This repertoire is Wittgenstein’s answer to Labor’s original gift, but it is also Wittgenstein’s gift to us all.
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ItemSounds of Progress in the Academy: An Emerging Creative Partnership(University of Hawaii at Manoa -- Center on Disability Studies, 2008)This paper provides a project overview of an emerging partnership between Scotland’s national conservatoire, the Royal Scottish Academy of Music and Drama (RSAMD) and Sounds of Progress (SoP), a music training and theatre production company specializing in working with people with disabilities. The paper seeks to introduce this partnership and its institutional context, to relate current work to previous research on other SoP projects, and to give an overview of some issues arising from the workshops, including professional training, new artistic possibilities, and integration with non-disabled musicians.
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ItemForum Introduction: To Dance Beneath the Diamond Sky with One Hand: Writings in Disability and Music(University of Hawaii at Manoa -- Center on Disability Studies, 2008)Forum Introduction: Music Beyond Norms
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ItemReview of Disability Studies: An International Journal Volume 4 Issue 1(University of Hawaii at Manoa -- Center on Disability Studies, 2008)We are pleased to include in this issue the first half of a forum on music guest edited by Alex Lubet and Na’ama Sheffi. The second half of the forum will appear in the next issue of RDS, volume 4, issue 2. Thank you Alex and Na’ama for an excellent and comprehensive forum!