Meghan Schrader received her M.A. in Music at the University of New Hampshire, and is the author of an article in the forthcoming collection Anxiety Muted: American Film Music in a Suburban Age, which will be published by Oxford University Press.
I am pleased to announce that the first meeting of the Society for Disability Studies music interest group was held recently at the national Conference of Disability Studies. The group was conceived around the original concept of musicology, described by Joseph Kerman in Contemplating Music, as having ranged “from the history of Western music to the taxonomy of primitive music, as it was then called, from acoustics to aesthetics, and from harmony to counterpoint to piano pedagogy.”
I find this definition is useful for our purposes: scholars in disability studies approach music in a variety of ways. We may be professional musicologists, or we may teach or study fields outside of music, such as English or Philosophy. In contrast to the breadth of methodological approaches to the study of music and disability, music is a distinct discipline with particular genres, history, and cultural practices; which differ from other forms of human expression. Hence, my hope is to provide a forum for SDS attendees to discuss music within a broad musicological framework. I also hope that doing so might foster collaboration with scholars who are affiliated with the AMS and SMT Disability Study Groups, in hopes that our divergent experiences might enrich each other’s scholarship.
By drawing on the increasing body of work related to music and disability, this group will consider the following questions: How can our work best reflect the interdisciplinary nature of disability studies? How does and should such musicology intersect with related fields, such a film studies, sound studies, and identity studies? What is music’s potential to reify or subvert cultural conceptions of disabled people, performers, and composers? What can disability studies contribute to music pedagogy? How might these contributions add to or change 19th century standards of musicianship that currently determine the practice of music? Can the social critique which often accompanies the analysis of narrative music also be applied to interpretations of absolute music? How can the analysis of music be integrated with ethical issues encountered in Disability Studies? What has disability studies to teach musicology, and what does musicology have to contribute to disability studies? How do nuances within disability identity impact our respective experiences as scholars, and particularly within the musicology/disability studies communities?
Our first meeting attracted scholars from a variety of different backgrounds and research interests, including:
- Presidential campaign music, opera on YouTube, and Freakery
- Music performance and, deafness in music with a focus on Evelyn Glennie and Christine Sun Kim
- Film music, particularly horror film soundtracks and film music of the 1950s
- Elitisim in music education
- Film music and studies of “The Beast with Five Fingers,” “Pride of Manres,” and Al Schidt and blindness
- Studies of Porgy and Bess and contemporary music
- Songwriting/performance with a focus on clinical psychology and metal music
We began the process of organizing one or more interdisciplinary panels for next year, in which we hope to bring these divergent interests together. True to the familial spirit of SDS, we also discussed the possibility of an “open mic night,” in which music scholars could not only meet for discussion, but also perform for each other.
We noted that SDS has had several music panels over the years, but that scholars who frequently attend SDS might be less likely to attend AMS, SAM or SMT meetings. Similarly, frequent participants in the latter conferences rarely attend SDS. Hence, another goal is to establish more frequent interactions and communication between scholars affiliated with these respective organizations. We would like to encourage these scholars to enrich both conferences with their presence and contributions.
Those wishing to participate in a panel should submit their abstracts to Meghan Schrader (meghanschrader at hotmail.com), Jessica Holmes (jessica.holmes at mail.mcgill.ca), and Dana Gorzelany-Mostak (dana.gorzelany-mostak at mail.cgill.ca) by December 3, 2014. The Society for Disability Studies Music Interest Group also has a Facebook presence.