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Holmes, Jessica A. “Expert Listening beyond the Limits of Hearing: Music and Deafness.” Journal of the American Musicological Society Vol. 70, no. 1 (Spring 2017 forthcoming).
Holmes, Jessica A. “Book Review: Willam Cheng’s Just Vibrations: The Purpose of Sounding Good.” Sound Studies (forthcoming 2017).
Jones, Matthew J. 2016 (Forthcoming). “Something Inside So Strong: The Flirtations, Queer Politics, and A Cappella.” Journal of Popular Music Studies 28/2.
Jones, Matthew J. 2017 (Forthcoming). “Enough of Being Basely Tearful: ‘Glitter and Be Gay,’ Camp, and the Politics of Queer Resistance in Two Decades.” Journal for the Society of American Music 11/1.
Jones, Matthew J (Forthcoming). “Disability Style: Joni Mitchell’s Guitar Technique.” In Cork & Spark, ed. Ruth Charnok.
Jensen, Moulton, Stephanie. Porgy’s Cane: American Opera and Disability Since 1935. This book is about how disability—in all its manifestations—has been found and still turns up everywhere in American opera, working alongside other cultural ideologies in particularly American and distinctly twentieth-century ways. This book examines eight American operas that have significant links to disability:
George Gershwin, Porgy and Bess (1935)
Gian Carlo Menotti, The Medium (1946)
Miriam Gideon, Fortunato (1958)
Carlisle Floyd, Of Mice and Men (1970)
Philip Glass, Einstein on the Beach (1976)
John Adams, The Death of Klinghoffer (1991)
Tobias Picker, Thérèse Raquin (2000)
Jake Heggie, Moby Dick (2011)
Each of these operas represents a cultural landmark, embodying and shaping attitudes toward disability in the U.S.
Howe, Blake. Sonic Prosthesis: Disability and the Dependencies of Musical Discourse. (The tentative title is an homage to Mitchell & Snyder 2000.) In this book project, I consider the ways in which many musical narratives—requiring tension before release, conflict before resolution—adopt disability as their central impediments. Topics include historical and analytical case studies of the reception of Paul Wittgenstein’s one-hand pianism, the role of disability in exegetical accounts of music therapy rituals, musical representations of obsession in the nineteenth-century, and the use of vocal disfluency (stuttering, muteness) as a form of stigma within musical narratives.