Musical Expression among Deaf and Hearing Song Signers
Musical Expression among Deaf and Hearing Song Signers
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聋哑人和听力正常的歌唱者的音乐表达
DOI：
10.1093/oxfordhb/9780199331444.013.4
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发表时间：
2015
影响因子：
3
通讯作者：
Anabel Maler
中科院分区：
文献类型：
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作者：
Anabel Maler
音乐家和作曲家通常被认为拥有“正常的听力”，因为听觉上的缺陷“被理解为对音乐家来说特别有问题”（Straus 2011，26）。正常听力的假设导致音乐学者将耳聋想象为“音乐最深刻的对立”。对于大多数听力正常的人来说，音乐似乎是“聋人永远无法拥有的东西，一种不可想象和无法实现的话语形式”（Abbate 1991，130）。在这种以听觉为中心的音乐观中，聋人生活在一个沉默的世界里，既无法表达音乐，也无法从音乐作品中获得快乐。将耳聋视为音乐残疾的模型同意残疾作为取消或排除残疾人“获得正常人的福利和地位”的主要观点（Garland-Thomson 2012，340）。然而，正如Rosemarie Garland-Thomson最近的工作所表明的那样，残疾可以被视为一种资源，而不是应该消除的负担。Garland-Thomson（2012）提出了几个“反致突变”的论点来保护残疾。继加兰-汤姆森之后，在本章中，我提出了自己的论点，以保护聋人的音乐体验。我认为，耳聋，而不是在音乐体验的背景下禁用，实际上使独特的音乐表演，是潜在的那些谁拥有一个“正常”的听觉。我认为，耳聋并不是音乐经验的缺陷，相反，它是音乐能力的源泉。
Musicians and composers are generally presumed to possess “normal hearing,” as a deficiency in the sense of hearing is “understood as particularly problematic for musicians”(Straus 2011, 26). The assumption of normal hearing has led music scholars to imagine deafness as “the deepest imaginable antithesis to music.” To the hearing majority, it seems unquestionable that music is “the one thing that a deaf person can never possess, a form of discourse unthinkable and unattainable”(Abbate 1991, 130). In this hearing-centric view of music, deaf people live in a world of silence, cut off both from musical expression and from receiving pleasure from musical works. The model of deafness as musically disabling agrees with the predominant view of disability as disqualifying or excluding the disabled person “from access to the benefits and status of the properly human”(Garland-Thomson 2012, 340). As recent work by Rosemarie Garland-Thomson suggests, however, disability can be viewed as a resource, rather than as a burden that should be eliminated. Garland-Thomson (2012) proposes several “countereugenic” arguments for conserving disability. Following Garland-Thomson, in this chapter I put forward my own arguments for conserving the deaf experience of music. I propose that deafness, rather than being disabling in the context of musical experience, actually enables distinctive musical performances that are potentially less accessible to those who possess a “normal” sense of hearing. Deafness, I argue, is not a deficit for musical experience; rather, it is a source of musical ability.