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- Publisher Website: 10.1093/oxfordhb/9780190636234.013.25
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Book Chapter: Is There Disabled Music?: Music and the Body from Dame Evelyn Glennie’s Perspective
Title | Is There Disabled Music?: Music and the Body from Dame Evelyn Glennie’s Perspective |
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Authors | |
Keywords | Glennie Music Disability Performer Hearing |
Issue Date | 2019 |
Publisher | Oxford University Press. |
Citation | Is There Disabled Music?: Music and the Body from Dame Evelyn Glennie’s Perspective. In Kim, Y & Gilman, S (Eds.), The Oxford Handbook of Music and the Body, p. 318-330. New York, NY: Oxford University Press, 2019 How to Cite? |
Abstract | This chapter explores the topic of the disabled body and music, with particular emphasis on the intersection of representation, performance, and creativity. After raising and examining a set of theoretical issues, the chapter centers on the interview with the percussionist Dame Evelyn Glennie, which addresses from a practitioner’s perspective queries that are not limited to disability and music, but also extend to performance, media, and hearing. Glennie’s notion of hearing is similar to what Straus proposes as “disablist” hearing, a more comprehensive and holistic mode of hearing including the tactile dimension, seeing, and kinesthetics of music listening. The question of how closely music and the body are intertwined is epitomized in her notion of true listening. |
Persistent Identifier | http://hdl.handle.net/10722/248237 |
ISBN |
DC Field | Value | Language |
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dc.contributor.author | Glennie, E | - |
dc.contributor.author | Gilman, SL | - |
dc.contributor.author | Kim, Y | - |
dc.date.accessioned | 2017-10-18T08:40:04Z | - |
dc.date.available | 2017-10-18T08:40:04Z | - |
dc.date.issued | 2019 | - |
dc.identifier.citation | Is There Disabled Music?: Music and the Body from Dame Evelyn Glennie’s Perspective. In Kim, Y & Gilman, S (Eds.), The Oxford Handbook of Music and the Body, p. 318-330. New York, NY: Oxford University Press, 2019 | - |
dc.identifier.isbn | 9780190636234 | - |
dc.identifier.uri | http://hdl.handle.net/10722/248237 | - |
dc.description.abstract | This chapter explores the topic of the disabled body and music, with particular emphasis on the intersection of representation, performance, and creativity. After raising and examining a set of theoretical issues, the chapter centers on the interview with the percussionist Dame Evelyn Glennie, which addresses from a practitioner’s perspective queries that are not limited to disability and music, but also extend to performance, media, and hearing. Glennie’s notion of hearing is similar to what Straus proposes as “disablist” hearing, a more comprehensive and holistic mode of hearing including the tactile dimension, seeing, and kinesthetics of music listening. The question of how closely music and the body are intertwined is epitomized in her notion of true listening. | - |
dc.language | eng | - |
dc.publisher | Oxford University Press. | - |
dc.relation.ispartof | The Oxford Handbook of Music and the Body | - |
dc.subject | Glennie | - |
dc.subject | Music | - |
dc.subject | Disability | - |
dc.subject | Performer | - |
dc.subject | Hearing | - |
dc.title | Is There Disabled Music?: Music and the Body from Dame Evelyn Glennie’s Perspective | - |
dc.type | Book_Chapter | - |
dc.identifier.email | Kim, Y: younkim@hku.hk | - |
dc.identifier.authority | Kim, Y=rp01216 | - |
dc.description.nature | link_to_subscribed_fulltext | - |
dc.identifier.doi | 10.1093/oxfordhb/9780190636234.013.25 | - |
dc.identifier.hkuros | 282569 | - |
dc.identifier.hkuros | 295572 | - |
dc.identifier.hkuros | 328397 | - |
dc.identifier.spage | 318 | - |
dc.identifier.epage | 330 | - |
dc.publisher.place | New York, NY | - |