By Joseph N. Straus
This ebook stories the impression of incapacity and ideas of incapacity on composers, performers, and listeners with disabilities, in addition to on discourse approximately tune and works of tune themselves. Composers with disabilities and the severe reception in their tune -- Musical narratives of incapacity triumph over : Beethoven -- Musical narratives of incapacity accommodated : Schubert -- Musical narratives of stability misplaced and regained : Schoenberg and Webern -- Musical narratives of the fractured physique : Schoenberg, Stravinsky, Bartok, and Copland -- incapacity inside of music-theoretical traditions -- acting tune and acting incapacity -- Prodigious listening to, general listening to, and disablist listening to
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This booklet reviews the impression of incapacity and ideas of incapacity on composers, performers, and listeners with disabilities, in addition to on discourse approximately track and works of track themselves. Composers with disabilities and the serious reception in their track -- Musical narratives of incapacity triumph over : Beethoven -- Musical narratives of incapacity accommodated : Schubert -- Musical narratives of stability misplaced and regained : Schoenberg and Webern -- Musical narratives of the fractured physique : Schoenberg, Stravinsky, Bartok, and Copland -- incapacity inside music-theoretical traditions -- acting track and acting incapacity -- Prodigious listening to, common listening to, and disablist listening to
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Additional resources for Extraordinary measures : disability in music
Indeed, several of the works for which he is still best known, including Ma Vlast (My Country) were composed during that period. One of the works from that period, the String Quartet No. 1 (“From My Life”), is a 22. Letter to Dr. Cízek, September 5, 1874. Cited in Large 1970, 244. 23. , blowing air into his ears through a rubber tube), and a prolonged “smear treatment,” in which his whole body was coated with a salve of unknown content (possibly containing mercury), “electrotherapy,” and the puncturing of the skin behind his ears with needles.
20. See, for example, Kinderman (2009, 71): The relationship between Beethoven’s deafness and his artistic development is fascinating. Despite his initial fears, and now discredited attempts to characterize his late style as a degeneration resulting from a lack of hearing, his art actually became richer as his hearing declined. Whereas the evolution of his so-called heroic style closely paralleled the personal crisis articulated in his Heiligenstadt Testament, the emergence of his late style, or “third period,” was marked by the complete erosion of his hearing many years later, around 1818.
She even asked Joachim to recompose the work and “make a really magnificent last movement for me,” which he refused to do. Eugenie Schumann, the last surviving witness, stated that in the 1880s, when an edition of Schumann’s as-yet-unpublished music was under discussion, Clara decreed, “the concerto should never be brought into the open,” and said that she wanted the manuscript to be destroyed. 39. Negative responses to Schumann’s late music as tainted by his madness are summarized in Jensen (2001, 281–83).