Expert Listening beyond the Limits of Hearing: Music and Deafness
Expert Listening beyond the Limits of Hearing: Music and Deafness
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超越听力极限的专家听力：音乐与耳聋
DOI：
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发表时间：
2017
期刊：
影响因子：
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通讯作者：
Jessica A. Holmes
中科院分区：
文献类型：
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作者：
Jessica A. Holmes
人们对音乐和耳聋之间关系的态度存在两个相关的误解：一个是长期以来的假设，即听力是音乐体验的核心，另一个是对耳聋的极端印象，即完全丧失听力;另一个是最近的一种倾向，即把耳聋者的听力降低到正常水平，因为关于耳聋者天生的感官敏锐度的叙述在大众的想象中激增。耳聋越来越多地象征着一组感官极性，这些极性掩盖了音乐学所获得的音乐体验的内在多样性，这种多样性包括聋人文化和非文化聋人的成员，并且通过以人为中心的复合词“d/Deaf”来表示。我的文章建立在最近的音乐奖学金残疾提供音乐和耳聋的多元理解。从苏格兰聋人运动员伊夫林Glennie开始，我调查了一系列的d/聋人帐户的音乐，包括聋人手语用户，助听器佩戴者，人工耳蜗植入者，和音乐引起的听力损失的人。耳聋会抵制音乐的自动进入点，扰乱任何直接的感官层次。聋人对听觉在音乐中的地位有着明显不同的看法，就像他们对视觉和触觉有着复杂的理解一样。例如，视觉是一种高度通用的倾听策略，通常比振动更可靠;触摸是可行的，因为它依赖于视觉线索，并进一步与一组材料和环境变量联系在一起。最后，我认为，d/聋人听众丰富的习惯概念的音乐专业知识：耳聋属于音乐学作为一个不同的一套经验，在全方位的听力。
Attitudes to the relationship between music and deafness suffer from two related misconceptions: the enduring assumption that hearing is central to musical experience in conjunction with an extreme impression of deafness as total aural loss; and, more recently, the tendency to reduce deaf listening to tactility, as narratives about inborn sensory acuities among the deaf proliferate in the popular imaginary. Increasingly, deafness symbolizes a set of sensory polarities that obscure an intrinsic diversity of musical experiences from which musicology stands to gain, a diversity that encompasses members of Deaf culture and non-culturally deaf people alike, and that is signaled through the person-centered compound “d/Deaf.” My article builds on recent music scholarship on disability to offer a pluralistic understanding of music and deafness. Beginning with Scottish deaf percussionist Evelyn Glennie, I investigate a range of d/Deaf accounts of music, including those of Deaf sign language users, hearing aid wearers, and cochlear implant recipients, and of people with music-induced hearing loss. Deafness resists automatic entry points into music, unsettling any straightforward hierarchy of the senses. Deaf people reflect on the musical status of aurality in markedly different ways, just as they offer a complex understanding of vision and touch. For instance, vision is a highly versatile listening strategy and is often more reliable than vibration; touch is feasible because of its contextual dependence on visual cues, and is further tied to a set of material and environmental variables. Ultimately, I argue that d/Deaf listeners enrich customary notions of musical expertise: deafness belongs in musicology as a diverse set of experiences within the full spectrum of listening.
全身颤抖：流行音乐与残疾
DOI：
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发表时间：
2013
期刊：
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影响因子：
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作者：
McKay George
通讯作者：
McKay George