Musique ... pour la guérison ou Disable ":" Thérapie pour qui "?

Auteurs-es

  • Stefan Honisch University of British Columbia

DOI :

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

Mots-clés :

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

Résumé

Cet article pose la question: «Quel est le rôle d'un point de vue des études d’invalidité dans la musicotherapie?" Et: «Quel est le rôle de la musicothérapie à partir d'un point de vue des études d’invalidité?" Je travaille à travers quelques-unes des conséquences d'une rencontre entre des études d’invalidité de musique et de musicothérapie, et le complémentaire, mais possibilité contradictoires rôles que chaque champ peut jouer par rapport à l'autre. Parce que de ma propre expérience et ses intérêts de recherche, il y aura un accent décidé sur la première question, qui est ce que des études d’invalidité pourrait contribuer à la théorie et la pratique de la musicothérapie

Biographie de l'auteur-e

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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Publié-e

2014-10-20

Comment citer

Honisch, S. (2014). Musique . pour la guérison ou Disable ":" Thérapie pour qui "?. Voices: A World Forum for Music Therapy, 14(3). https://doi.org/10.15845/voices.v14i3.793

Numéro

Vol. 14 No. 3 (2014): Special Issue on Music Therapy and Disability Studies

Rubrique

Invited Submission - Special Issue

Licence

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