Sounding Off: Theorizing Disability in Music by Neil Lerner, Joseph Straus
By Neil Lerner, Joseph Straus
Incapacity, understood as culturally stigmatized physically distinction (including actual and psychological impairments of all kinds), is a pervasive and everlasting point of the human . whereas the biology of physically distinction is the correct examine for technology and medication, the that means that we connect to physically distinction is the right kind examine of humanists. The interdisciplinary box of incapacity reviews has lately emerged to theorize social and cultural buildings of the which means of incapacity. even though there was an outstanding outpouring of humanistic paintings in incapacity experiences long ago ten years, there was almost no echo in musicology or song concept. Sounding Off: Theorizing incapacity in tune is the 1st book-length paintings to target the ancient and theoretical problems with track because it pertains to incapacity. It indicates that track, like literature and the opposite arts, concurrently displays and constructs cultural attitudes towards incapacity. Sounding Off: Theorizing incapacity in tune supplies to be a landmark learn for students and scholars of song, incapacity, and tradition.
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15, II, mm. 1–13. These long, smooth whole notes abruptly shift to a series of quick pizzicato chords played by the second violin and viola. At this moment, actor Christopher Lloyd’s face enters the frame, simultaneously blocking out the pastel scene and contextualizing it as the distant view from an office window. As Dr. Kelekian, Lloyd’s face suddenly occupies almost the entire frame in an extreme close-up shot that cuts off the top of his head. He says, “You have cancer” (p. 7). The sonic, visual, and verbal juxtapositions of W;t’s opening hinge on disorientation and disruption: Vivian’s cancer diagnosis is the disturbing event that fundamentally redefines her life.
Has that ever happened to you? I’m speaking hypothetically … Am I being too vulnerable? Is it pushing you away? Come back over here, sit the fuck down, I’m not finished talking to you … Well] what if you wanted to touch me but [like] my lesions [kinda] scared you? [Be a man about it. indd 20 8/16/06 3:12:45 PM Fever/Fragile/Fatigue • 21 What if you were too weak [someday] to get out of the bathtub? [What would you want me to do then? ] My transcription of the lyrics includes, in brackets, singer Christian Huygen’s slightly demented, growling, whisky-and-cigarettes expansions of the text; his insistent but romantic demands give the song a late-night, kind-of-guy-your-mother-warned-you-about quality.
2, measures 14–15). (Searchingly) I thought being extremely smart would take care of it. But I see that I have been found out. Ooohhh. I’m scared. Oh, God. I want … I want … No. I want to hide. I just want to curl up in a little ball. indd 35 7/31/06 8:29:49 PM 36 • Maria Cizmic At first, Upshaw sings rather low in her range and creates a full though covered sound. Upshaw almost moans the sob-like motive twice before trying to lift out of the D-flat–C descent. At measure 21 (not shown here), she sings, “Don’t cry, Mother,” rising from D-flat to E-flat before falling back down to D-flat and then to C.