The Oxford Handbook of Music and Disability Studies

Blake Howe, Assistant Professor of Musicology, Louisana State UniversityStephanie Jensen-Moulton, Assistant Professor of Musicology, Brooklyn College, City University of New YorkNeil Lerner, Professor of Music, Davidson CollegeJoseph Straus, Distinguished Professor of Music, Graduate Center, City University of New York

• Introduction: Disability Studies in Music; Music in Disability Studies Blake Howe, Stephanie Jensen-Moulton, Neil Lerner, Joseph Straus Part 1. Disability Communities1. Toward an Ethnographic Model of Disability in the Ethnomusicology of AutismMichael B. Bakan2. Music, Intellectual Disability, and Human FlourishingLicia Carlson3. Imagined Hearing: Music-Making in Deaf CultureJeannette DiBernardo Jones4. Musical Expression among Deaf and Hearing Song SignersAnabel Maler5. The Politics of Sound: Music and Blindness in France, 1750-1830Ingrid Sykes6. "They Say We Exchanged Our Eyes for the Xylophone": Resisting Tropes of Disability as Spiritual Deviance in Birifor MusicBrian Hogan7. Understanding is Seeing: Music Analysis and BlindnessShersten Johnson Part 2. Performing Disability 8. Mechanized Bodies: Technology and Supplements in Björk's ElectronicaJennifer Iverson9. Subhuman or Superhuman? (Musical) Assistive Technology, Performance Enhancement, and the Aesthetic/Moral DebateLaurie Stras10. Disabling Music PerformanceBlake Howe11. Music and Bodily Difference in Cirque du SoleilStephanie Jensen-Moulton12. Punk Rock and Disability: Cripping SubcultureGeorge McKay13. Moving Experiences: Blindness and the Performing Self in Imré Ungár's ChopinStefan Sunandan Honisch14. Stevie Wonder's Tactile Keyboard Mediation, Black Key Compositional Development, and the Quest for Creative AutonomyWill Fulton15. Oh, the Stories We Tell! Performer-Audience-DisabilityMichael Beckerman16. The Dancing Ground: Embodied Knowledge, Disability, and Visibility in New Orleans Second LinesDaniella Santoro Part 3. Race, Gender, Sexuality17. A Cannon-Shaped Man with an Amphibian Voice: Castrato and Disability in Eighteenth-Century FranceHedy Law18. Sexuality, Trauma, and Dissociated ExpressionFred Everett Maus19. That "Weird and Wonderful Posture": Jump "Jim Crow" and the Performance of DisabilitySean Murray20. Disabled Moves: Multi-dimensional Music Listening, Disturbing/Activating Differences of IdentityMarianne Kielian-Gilbert Part 4. War and Trauma21. Disabled Union Veterans and the Performance of Martial BeggingMichael Accinno22. "Goodbye, Old Arm": The Domestication of Veterans' Disabilities in Civil War-Era Popular SongsDevin Burke23. "The Absurd Disordering of Notes": Dysfunctional Memory in the Post-Traumatic Music of Ivor GurneyBeth Keyes24. Vocal Ability and Musical Performances of Nuclear Damages in the Marshall IslandsJessica Schwartz Part 5. Premodern Conceptions25. Lyrical Humor(s) in the 'Fumeur' SongsJulie Singer26. Difference, Disability, and Composition in the Late Middle Ages: Of Antonio "Zachara" da Teramo and Francesco "Il Cieco" da FirenzeMichael Scott Cuthbert27. Madness and Music as (Dis)ability in Early Modern EnglandSamantha Bassler28. Saul, David, and Music's Ideal BodyBlake Howe Part 6. The Classical Tradition29. Narratives of Affliction and Recovery in HaydnFloyd Grave30. Music and the Labyrinth of MelancholyElaine Sisman31. Musical Prosthesis: Form, Expression, and Narrative Structure in Beethoven's Sonata MovementsBruce Quaglia32. Sounds of Mind: Musicians and Madness in the Popular ImaginationJames Deaville Part 7. Modernism and After33. Modernist Opera's Stigmatized SubjectsSherry Lee34. Autism and Postwar Serialism as Neurodiverse Forms of Cultural ModernismJoseph Straus35. Broken Facture: Representations of Disability in the Music of Allan PetterssonAllen Gimbel36. Musical Modernism's Aesthetics of DisabilityJoseph Straus37. "Defamiliarizing the Familiar": Michael Nyman, Narrative Medicine, and the Composition of Mental BlindnessStephanie Jensen-Moulton Part 8. Film and Musical Theater38. Scene in a New Light: Monstrous Mothers, Disabled Daughters, and the Performance of Feminism and Disability in The Light in the Piazza (2005) and Next to Normal (2008)Ann M. Fox39. "Pitiful Creature of Darkness": The Subhuman and the Superhuman in The Phantom of the OperaJessica Sternfeld 40. "Waitin' for the Light to Shine": Musicals and DisabilityRaymond Knapp41. Music for Richard III: Cinematic Scoring for the Early Modern MonstrousKendra Preston Leonard42. Hearing a Site of Masculinity in Franz Waxman's Score for Pride of the Marines (1945)Neil Lerner

"The Oxford Handbook of Music and Disability Studies is a ground-breaking contribution to the field of cultural disability studies and to the recent arrival of musicology within this field of study. This publication is a must for anyone seeking a greater understanding of the representation of disability in music. Readers interested in the participation of disabled people in music-making (rather than in cultural representations of impairments) will find a valuable number of essays. And, finally, those interested in the perspectives that impaired musicians can offer about their embodiments, and in research that promotes their inclusion in musicmaking, will also find valuable contributions." --Context"[T]he Handbook encompasses an impressive assemblage of historical and current musical contexts, artists, and audiences. It is a breakthrough endeavor and opens the door, certainly, for the many scholars now beginning this work. As its editors suggest, it should encourage music scholars to consider cultural concepts of disability, and disability studies scholars to remember the significance of music in experiences of disability. We all have much toteach each other." --Disability Studies Quarterly"Academics, students, and interested parties in both music and disability studies will find valuable information here; several of the essays may also interest historians in related fields or teachers seeking to help disabled students participate fully in music or discover a creative and communicative outlet. Its timely contribution to both fields cannot go overlooked." --Journal of Musicological Research