- The Oxford Handbook of Music and the Body
- About the Editors
- Contextualizing Music and the Body: An Introduction
- Musicalities and the Moving Body in Western Concert Dance
- Music and Movement: Expectations, Aesthetics, and Representation
- The Science of Voice and the Body
- The Body as Musical Instrument
- Music Changes the Brain
- Music and Psychoanalysis
- Music Sociology Meets Neuroscience
- Sound-Motion Bonding in Body and Mind
- Music, Bacchus, and Freedom
- Entrainment and Embodiment in Musical Performance
- Rhythm and the Performer’s Body
- Embodied Rhythm and Musical Impact of Corporal Punishment in Twentieth-Century Opera
- Music and the Embodiment of Disability
- Musical Remediation of Disability
- Virtuosities of Deafness and Blindness: Musical Performance and the Prized Body
- Embodied Representation in Staged Opera
- Sexuality, Dis/Ability, and Sublimity in Grand Opera
- Is There Disabled Music?: Music and the Body from Dame Evelyn Glennie’s Perspective
- Music and the Body in the History of Medicine
- Music in Body and Imagination
- Spatial Representations Common to Music and Bodily Experience
- Multimodal Music in Infancy and Early Childhood
- Opera as Film: Multimodal Narrative and Embodiment
- Listening to the Musicking Body: A Cross-Disciplinary and Historical Perspective
Abstract and Keywords
Music, in its capacity to represent motion and in the supposed capacity of those motions to affect a listener’s character, has frequently assumed a recuperative function in the remediation of disability. This tradition may be sourced to ancient and medieval doctrines, in which proportions of the human body possess an innate musicality, tuning to and sympathetically vibrating with surrounding sounds. These principles have provided the basis for many extraordinary tales of musical cures, which invoke an abstractly idealized musical body as an antidote to physical impairment. Further, within these tales, disability often allegorizes some other theme or subject, functioning as a “narrative prosthetic” that defines by counterexample a desirable state.
Blake Howe is Assistant Professor of Musicology at Louisiana State University.
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