Representation, Radicalism, and Music “After Sound”

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

Autori

  • Aaron Moorehouse Bath Spa University, United Kingdom

DOI:

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

Parole chiave:

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

Abstract

Rappresentazione, radicalismo e musica "After Sound": il punto di vista di un compositore sulla musica del futuro in musicoterapia

Abstract

Questo articolo presenta il punto di vista di un compositore sperimentale sulla pratica della musicoterapia contemporanea. Si comincia offrendo le mie impressioni sul campo, raccolte attraverso interviste con musicoterapisti praticanti e un esame della letteratura pertinente. Di seguito, l’esposizione attinge principalmente alla radicale teorizzazione post-sonica della musica di G. Douglas Barrett, la quale mette in discussione il futuro della musica esistente in terapia prima di strumentalizzare l'estetica d'avanguardia, immaginando cosa potrebbe diventare la musica nella musicoterapia. Questa esplorazione presterà particolare attenzione agli impatti della smaterializzazione dell'oggetto artistico nell'arte contemporanea e ai potenziali benefici che un simile decentramento del suono nelle pratiche musicali contemporanee può provocare. In particolare, la creazione di quadri teorici che sopprimono ulteriormente l'autorità delle forme canoniche, e maggiori contributi da parte di gruppi precedentemente emarginati. Successivamente, l’articolo presenta un'analisi di due recenti composizioni musicali che decentrano decisamente il suono, prima di esaminare l'adeguatezza di questa estetica ai contesti terapeutici. Infine, si indica una serie di antecedenti storici che illustrano il potenziale della musicoterapia per un autoesame rigoroso (e radicale), esaminando come questi sforzi possano essere espansi.

Biografia autore

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.

Riferimenti bibliografici

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Pubblicato

2021-06-28

Come citare

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

Fascicolo

V. 21 N. 2 (2021)

Sezione

Commentary

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Copyright (c) 2021 Aaron Moorehouse

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