音楽....治療するための、あるいは能力を奪うための：「誰のための療法か」

著者

  • Stefan Honisch University of British Columbia

DOI:

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

キーワード:

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

要旨

この記事は「音楽療法における障がい学の役割は何か」について、さらに「障がい学における音楽療法の役割は何か」について問いを投げかける。音楽における障がい学と、音楽療法の遭遇が意味するものについて、それぞれの領域がお互いに関わる中で果たす補完的な、しかしおそらくは葛藤的な役割について述べる。私自身の背景や研究の関心のため、前者の問い、すなわち障がい学が音楽療法の理論や実践に対してどのような寄与をするかについて、重点的に述べることになろう。

Author Biography

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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出版済

2014-10-20

How to Cite

Honisch, S. (2014). 音楽.治療するための、あるいは能力を奪うための：「誰のための療法か」. Voices: A World Forum for Music Therapy, 14(3). https://doi.org/10.15845/voices.v14i3.793

巻号

巻 14 号 3 (2014): Special Issue on Music Therapy and Disability Studies

セクション

Invited Submission - Special Issue

License

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