Representation, Radicalism, and Music “After Sound”

A Composer’s Perspective on the Music of the Future in Music Therapy

Autores/as

  • Aaron Moorehouse Bath Spa University, United Kingdom

DOI:

https://doi.org/10.15845/voices.v21i2.3143

Palabras clave:

Radicalism, Avantgardism, Dematerialisation and Decentering, Composition, Diversity, Representation

Resumen

Representación, radicalismo y música "después del sonido": la perspectiva de un compositor sobre la música del futuro en musicoterapia

 Resumen

Este comentario presenta la perspectiva de un compositor experimental sobre la práctica de la musicoterapia contemporánea. Comienzo ofreciendo mis impresiones del campo, recopiladas a través de entrevistas con musicoterapeutas en la práctica y un examen de la literatura relevante. Luego, el comentario primero se basa en la teorización post-sónica radical de la música de G. Douglas Barrett para cuestionar el futuro de la música existente en la terapia, antes de instrumentalizar la estética de vanguardia para imaginar lo que la música puede llegar a ser en la musicoterapia. Esta exploración prestará especial atención a los impactos de la desmaterialización del objeto de arte en el arte contemporáneo, y los beneficios potenciales que puede provocar un descentramiento similar del sonido en las prácticas musicales contemporáneas; específicamente, la creación de marcos teóricos que reprimen aún más la autoridad de las formas canónicas y del aumento de las contribuciones de grupos previamente marginados. A continuación, el comentario presenta un análisis de dos composiciones musicales recientes que descentran decididamente el sonido, antes de examinar la adecuación de esta estética a los contextos terapéuticos. Finalmente, el comentario señala una serie de antecedentes históricos que ilustran el potencial de la musicoterapia para un autoexamen riguroso (y radical), y examina cómo se pueden expandir estos esfuerzos.

Biografía del autor/a

Aaron Moorehouse, Bath Spa University, United Kingdom

Aaron Moorehouse is a PhD composer studying at Bath Spa University’s Open Scores Lab—a research group exploring novel approaches to scoring and new modes of musicmaking. His thesis investigates how music therapy frameworks may be used to draw attention to the psychosocial impacts of non-therapeutic music practices—subsequently illustrating that these impacts are present in any musical act, and encouraging composers to develop a vocabulary with which to address the psychosocial implications of their creative practices. Similarly, his own creative practice problematises the methods by which academic institutions draw distinctions between ethical and unethical creative practices (as well as the situations in which such distinctions are deemed necessary), and he often deliberately provokes hesitancy in order to uncover where these boundaries lie. Aaron’s work repeatedly manipulates and subverts various framing devices, and also makes frequent use of a multitude of other postmodern and postconceptual techniques—including fictocriticism and dematerialisation.

Citas

Ansdell, Gary. (2003) The stories we tell: Some meta-theoretical reflections on music therapy. Nordic Journal of Music Therapy,12(2), 192-159. https://doi.org/10.1080/08098130309478085

Barrett, G. Douglas. (2016) After sound: Toward a critical music. Bloomsbury. https://doi.org/10.5040/9781501308130

Best, Susan. (2018). Conceptual art and after: The rise of the interesting. Art Monthly Australasia, 311, 26-29.

Bishop, Claire. (2004). Antagonism and relational aesthetics. October, 110, 51-79, https://doi.org/10.1162/0162287042379810

Bishop, Claire. (2012). Artificial hells: Participatory art and the politics of spectatorship. Verso Books.

Cage, John. (2012). Silence: Lectures and writings. Wesleyan University Press.

Carlson, Marvin. (2013). Performance: A critical introduction. Routledge. https://doi.org/10.4324/9781315016153

Cramer, Florian. (2019). Crapularity aesthetics. Making & Breaking, 1(1).

DeNora, Tia. (2003). After Adorno: Rethinking music sociology. Cambridge University Press. https://doi.org/10.1017/CBO9780511489426

Epp, Erinn. (2007). Locating the autonomous voice: Self-expression in music-centered music therapy. Voices: A World Forum for Music Therapy, 7(1). https://doi.org/10.15845/voices.v7i1.463

Gottschalk, Jennie. (2016). Experimental music since 1970. Bloomsbury.

Joseph, Branden Wayne. (2008). Beyond the dream syndicate: Tony Conrad and the arts after Cage (A "Minor" history). Zone Books.

Kenny, Carolyn Bereznak. (1987). The field of play: A theoretical study of music therapy process [Doctoral dissertation, The Fielding Institute].

Kigunda, Bernard M. (2004). Music therapy canning and the healing rituals of Catholic charismatics in Kenya. Voices: A World Forum for Music Therapy, 4(3). https://doi.org/10.15845/voices.v4i3.186

Kim Cohen, Seth. (2009). In the blink of an ear: Toward a non-cochlear sonic art. A&C Black.

Krauss, Rosalind. (1979). Sculpture in the expanded field. October,8, 31-44. https://doi.org/10.2307/778224

Lee, Colin Andrew. (2016). Aesthetic music therapy. In Jane Edwards (Ed.), The Oxford handbook of music therapy. Oxford University Press. https://doi.org/10.1093/oxfordhb/9780199639755.013.2

Lely, John, & James Saunders. (2012). Word events: Perspectives on verbal notation. Continuum.

Lippard, Lucy R. (2001). Six years: The dematerialization of the art object from 1966 to 1972. University of California Press. https://doi.org/10.1525/9780520340619

Ming Cheng, M. Lo. (2002). Doctors within borders: Profession, ethnicity, and modernity in colonial Taiwan (Vol. 1). University of California Press.

Moorehouse, Aaron. (2021). ‘Can you not?’: Non-performance in New Music – Riffs. [online] Riffsjournal.org. https://riffsjournal.org/aaron-moorehouse-can-you-not-non-performance-in-new-music/

Nyman, Michael. (1999). Experimental music: Cage and beyond (Vol. 9). Cambridge University Press.

Small, Christopher. (1998). Musicking: The meanings of performing and listening. Wesleyan University Press.

Stige, Brynjulf, and Leif Edvard Aarø. (2011). Invitation to community music therapy. Routledge. https://doi.org/10.4324/9780203803547

Photo of author Aaron Moorehouse

Descargas

Publicado

2021-06-28

Cómo citar

Moorehouse, A. (2021). Representation, Radicalism, and Music “After Sound”: A Composer’s Perspective on the Music of the Future in Music Therapy. Voices: A World Forum for Music Therapy, 21(2). https://doi.org/10.15845/voices.v21i2.3143

Número

Vol. 21 Núm. 2 (2021)

Sección

Commentary

Licencia

Derechos de autor 2021 Aaron Moorehouse

Creative Commons License

Esta obra está bajo una licencia internacional Creative Commons Atribución 4.0.

Articles published prior to 2019 are subject to the following license, see: https://voices.no/index.php/voices/copyright