Musik... um zu heilen oder zu behindern: „Therapie für wen?“

Autor/innen

  • Stefan Honisch University of British Columbia

DOI:

https://doi.org/10.15845/voices.v14i3.793

Schlagworte:

disability, selfhood, music therapy, Disability Studies in Music, reflexivity, accessibility, performance

Abstract

Dieser Artikel fragt: „Was ist die Rolle einer Disability Studies Perspektive innerhalb von Musiktherapie?“ Und: „Was ist die Rolle der Musiktherapie aus einer Disability Studies Perspektive?“ Ich bearbeite einige der Implikationen eines Zusammentreffens zwischen Disability studies in Musik und Musiktherapie und die komplementären, aber vermutlich widersprüchlichen Rollen, die jedes Feld für das jeweils andere spielt. Aufgrund meines eigenen Hintergrunds und meiner Forschungsinteressen liegt der Schwerpunkt auf der Frage, was Disability Studies zu der Theorie und Praxis der Musiktherapie beitragen können.

Autor/innen-Biografie

Stefan Honisch, University of British Columbia

Stefan Sunandan Honisch completed his undergraduate training at the University of Victoria, where his teachers included Eva Solar Kinderman,  Cary Chow, John Celona, and David Clenman. He subsequently completed Master's degrees  in Piano Performance and in Composition under the supervision of Professor Jane Coop and Dr. Stephen Chatmanat the University of British Columbia. Honisch is currently a doctoral candidate at the Center for Cross Faculty Inquiry in Education at the University of British Columbia. His dissertation (in progress) is centered on a 2013 solo recital at the University of British Columbia by the pianist Nobuyuki Tsujii(co-gold medallist of the 2009 Van Cliburn International Piano Competition), exploring how this performance—by a blind pianist who has repeatedly insisted that he wants his audiences to think of him as "simply a pianist" (Oda, 2009; [Itsuko] Tsujii, 2009)— was received by select professors and graduate students. The study turns on the following question: how might this recital have taught both performer and audience to question normative definitions of musical experience, definitions which serve in various ways to reinforce the privileged status of what disability historian Paul Longmore caustically refers to as "the severely able-bodied." (in Garland-Thompson, 2005, p.33; see also, Straus, 2011) In examining the assumptions upon which the pedagogy of normal musical experience is based, performer and  audience come to understand themselves, and, by extension, their relationship to each other in ways that put pressure on accounts of selfhood based on simplistic distinctions between ability and disability.In addition to completing his dissertation, Mr. Honisch continues to be active as a free-lance pianist, composer and teacher.  He has published articles based on his research in Music Theory Online, and the International Journal of Inclusive Education, and has a chapter on the early-twentieth century Hungarian pianist Imre Ungár (1909-1972) in The Oxford Handbook of Music and Disability Studies (forth-coming with Oxford University Press).

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Veröffentlicht

2014-10-20

Zitationsvorschlag

Honisch, S. (2014). Musik. um zu heilen oder zu behindern: „Therapie für wen?“. Voices: A World Forum for Music Therapy, 14(3). https://doi.org/10.15845/voices.v14i3.793

Ausgabe

Bd. 14 Nr. 3 (2014): Special Issue on Music Therapy and Disability Studies

Rubrik

Invited Submission - Special Issue

Lizenz

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