This is the sixth of our instructor-led online discussions for Mu 101 (Spring 2020). Refer to the handout you received the first day of class (click on this highlighted text to go to that page our class website) which describes the amount and kinds of contributions you’re expected to make to these online discussions (adding your own ideas, responding to others’ ideas, and asking questions that others can respond to) — these are all the same parameters of good conversation that happens offline, too!
The most effective comments in an online forum are short — think about how you skim past others’ comments if they’re more than a couple lines long instead of engaging closely with that person’s ideas! If everyone involved in these weekly conversations only posts a single long comment, it won’t be a conversation, and we won’t all benefit from opportunity to learn from each other. Rather than dropping in on the blog once during the week and adding a single long comment, think of this forum as an opportunity to have a conversation with your fellow classmates. A conversation, whether online or in person, involves back-and-forth contributions from everyone involved: adding something new based on your own experiences or ideas, asking questions, responding to the ideas of others. The best way to get the most out of this learning experience is to share your single best idea, give room for others to respond, and then build on each others’ contributions later in the week.
There are no questions at the end of this post to get the conversation going. Use your own critical thinking to make this conversation substantial: compare or contrast its ideas to your own experience or other things you’ve learned about, think about what surprises you, and think about what aspects resonate with or contradict your own experiences. The approximate reading time of this post is 9 minutes, not counting any audio media.
The body and “ability”
Our bodies carry us through the world. Sometimes we’re proud of our bodies; sometimes they fail us. Others react to our bodies: with pleasure, attraction, seeking comfort, recoiling in fear, or—before humans climbed to the top of the food chain—viewing us as prey. Each of our bodies is different, and that means we experience the world in slightly different ways: a space that feels claustrophobic to one person may feel cozy to another, or a distance that is easy to cross for one may be intimidatingly far for another. Weather that seems pleasant to you may be too hot, too cold, too sunny, or too windy for another person’s skin color, body fat percentage, or hair length. Your body is one of the first determinants in how you come to know the world physically and socially—how it feels, how it treats you, and your place in it.
One of the things that comes with living in a society is a sense of what is “normal.” We build doorways, cars, stairways, airplane seats, and clothing to fit the “average” body. Even the language we use implies that there is a baseline of normal, since we refer to some people as having disabilities or being disabled, but we don’t refer to other people as “living with abilities” or “being abled.”
Really, “normal” just average, the middle of the pack. And that means that almost no one is “normal.” We’re all above average in some aspects of our physicality and below average in others.
We’ve been talking a lot in class about our listening experiences and all the things that influence them: our past experiences, how we listen, where we listen… The same array of possible factors affects what music a musician makes, too!
Music can be seen as a musician’s interpretation of the world, and their interpretation partly comes from moving through the world in their bodies—each person has a unique array of physical attributes as well as all the sensations, experiences, attitudes, and assumptions that come along with his or her body. A musician’s unique musical perspective comes from how they walk, the rhythm of their heart and lungs, the physical capabilities or limitations of their music making, how people treat them based on their appearance, and what they notice from their physical vantage point.
Let’s look at some musicians whose abnormalities—including physical and mental disabilities—shape the sounds they make.
There are numerous examples of blind musicians throughout music history: Ray Charles (1930-2004) and Stevie Wonder (b. 1950) readily come to mind. And there are others, all of whom are imbued with a degree of reverence or magical awe by others, that somehow the loss of sight makes these musicians seem even more musically insightful—
- Friedrich Kuhlau (1786-1832), a German pianist-flutist-composer who lost his sight as a child when he tripped going down a set of stairs while hold glass containers, which shattered in his eyes
- Blind Willie Johnson (1897-1945), a blues and gospel guitarist from Texas
- Andrea Bocelli (b. 1958), an Italian pop-opera singer-composer
The eyes are so important that 19th-century meditating shakuhachi players adopted a reversed version of this blindness, covering their faces so passersby would be “blind” to the identity of the person playing the flute, allowing the sounds they made to seem even more timeless and powerful.
Blind musicians have not traditionally participated in orchestras, because so much of the communication that happens in that ensemble is visual: gestures from the conductor. A pair of inventors in England in 2019 developed a haptic (vibration-based) baton to allow blind musicians to physically feel the visual gestures of a conductor:
Although the ability to see is crucial for much human interaction, it clearly isn’t an impediment to participating in music, which is a sonic medium. But deafness would be impossible for a musician, right?
That’s what Ludwig van Beethoven (1770-1827) thought when he started going deaf at the end of the 18th century as a result of an infection, just as his career as a virtuoso pianist and composer was taking off. Suddenly, it was all gone: his livelihood, his life-long honed skills (he had been trained by his father from a very young age—remember this online discussion?), and the joy he took in listening to the birds and rustling grasses on his walks through the countryside. He already felt isolated and lonely—he wasn’t a particularly attractive man, and he didn’t have the patience to always mind his manners when speaking, to dress neatly, or to flatter the wealthy aristocrats of Vienna. So he’s a loner, someone who feels like an outsider in society, and he’s losing his one consolation: his exceptional musical talent.
In 1802, Beethoven went to Heiligenstadt, a country town outside Vienna where he would spend vacations. He was distraught—what point was there to living if he couldn’t be “BEETHOVEN THE SUPER AWESOME TALENTED MUSICIAN”? And he decided to kill himself.
Spoiler alert: he didn’t.
Instead, he doubled down on being the best musician he could be, committing himself to creating music for the rest of his life, and he did so because he believed the world would be worse off if he did not. Think about the gravity, egoism, and confidence of that position: that Beethoven was so sure of his talent, his creativity, and his role in the world that he believed depriving others of his music would make him feel worse than the physical pain, social discomfort, and frustration of going deaf.
He penned a document now known as the Heiligenstadt Testament, in which he states that it was “only his art that held [him] back.” You can read the full text here: Beethoven – Heiligenstadt Testament
Beethoven’s decision not to kill himself—and to base that decision on the necessity of continuing to make music—plays an enormous role in his legacy, making him a revered, admired, intimidating, and inspiring figure for musicians and non-musicians alike from the 19th century onward (there’s more about the influential role Beethoven plays in music history here).
Deafness is less of an isolating trait today than it was in Beethoven’s time; sign language hadn’t yet been developed, doctors didn’t understand what caused deafness, and the idea of finding “empowerment” through overcoming challenges wasn’t anywhere near as popular of a narrative then as it is today (stoic resignation was a much more common reaction or attitude). Antoine Hunter, in contrast, is a deaf dancer-choreographer who runs a studio for other deaf dancers in San Francisco, and his life’s work is devoted to the empowerment of deaf people:
Just as with Hunter, being attuned to vibrations, even without being able to hear all of them, is part of how Evelyn Glennie (b. 1965), a deaf percussionist from Scotland, is able to perform—she’s typically seen onstage barefoot so she can feel what her instruments are doing, and her 2003 Ted Talk describes how she learned to better understand the world by using her whole body:
Amy Winehouse. Jimi Hendrix. Jim Morrison. Kurt Cobain. Chris Cornell. Chester Bennington. Mac Miller.
Musicians who’ve suffered from mental illness and died from suicide and/or drug and alcohol overdoses seem commonplace. Mental health issues are common among musicians who are still alive and seemingly functional, as well, including anxiety disorders (Adele, Zayn Malik, Britney Spears, Barbra Streisand), eating disorders (Elton John, Paula Abdul, Demi Lovato), depression (Lady Gaga, Sia, Bruce Springsteen, Kid Cudi), and performance anxiety (extremely common in the classical music world—just think about the pressure surrounding orchestral auditions!).
Mental illness can be debilitating, particularly because it often doesn’t seem as obvious to observers as, say, a broken leg or a runny nose. There’s also a long-standing myth that creativity and mental illness go together—that abnormality and freakish talent go hand-in-hand—and it’s untrue, but for people whose identities are inextricably linked to being creative on demand, doing anything that might jeopardize that “gift” (like seeking professional help) can often feel unthinkable.
We partly have Beethoven and other 19th-century musicians to blame—Beethoven likely suffered from bipolar disorder. His letters, conversation books, and descriptions by contemporaries suggest this diagnosis, even though contemporary medicine did not contain that vocabulary yet. People found the idea of a tortured artist to be quite compelling in the 19th century, and this carried over into the 20th and 21st centuries. There are other examples of 19th-century classical musicians with diagnosed mental illness as well, and these reinforce the crazy-creative myth:
- Hector Berlioz (1803-69), who self-medicated with opium and other drugs
- Robert Schumann (1810-56), who walked himself into a river in his bathrobe to drown himself but failed and was committed to a mental institution
- Anton Bruckner (1824-96), obsessive compulsive disorder
- Pyotr Ilyich Tchaikovsky (1840-93), whose depression was likely compounded by his shame over his sexual orientation and led to his suicide
When your body fails you
Then there are examples of musicians who don’t persevere—like Beethoven—and don’t spectacularly flame out at a young age—like Amy Winehouse—but instead whose bodies deteriorate and get the best of them over time, slowly changing or eliminating their ability to work: Lil Wayne and Prince, who both suffer from epilepsy; Maurice Ravel (1875-1937), whose compositional style changed as his brain deteriorated due to dementia; or Aaron Copland (1900-90), who simply could no longer come up with a single musical idea once Alzheimer’s set in (he lived for another 20 years after he last composed music in 1970).
“It was exactly as if someone had simply turned off a faucet.”
—Aaron Copland, describing his inability to come up with any musical ideas after his Alzheimer’s progressed
Avoidable injuries that musicians give themselves
There are also disabilities caused by music making. Overuse and excessive practice habits can lead to carpal tunnel syndrome and focal dystonia for instrumentalists. These injuries are common and often career-ending physical. There’s no cure for carpal tunnel syndrome (numbness and tingling in the hands and arms due to a compressed nerve) other than ceasing the activity that caused it—meaning, no more playing music. Focal dystonia, which causes involuntary spasms that contract muscles in the body, on the other hand, is neurological—it’s a problem in the brain caused by a “mismapping” of physical motions in the brain (the brain mixes up which muscles are activated by different parts of the brain, resulting in mixed signals). For musicians, this most often happens in the muscles they use to do the most precise work of playing their instruments: embouchures of wind and brass players, fingers of pianists. It’s possible to re-train one’s body and learn to play without triggering these spasms, as Chicago-based oboist Alex Klein was able to do.
The most common injury for singers is ruining of the vocal folds—Adele may never sing again because of her poor vocal technique, in which she creates a big sound by straining and tearing her vocal folds. Those kinds of vocal injuries are rarer in the classical world because operatic singers work with vocal coaches non-stop while in school and their professional careers to develop and maintain healthy technique. Melissa Cross is a vocal coach who works with metal and hardcore singers to be able to scream for hours on end, night after night on tour:
Music can also be used as a therapeutic tool to help people with all of the disabilities discussed above create a sense of home, belonging, confidence, and well-being. Making music is fun, motivating, social, and doesn’t rely on language skills—it’s an avenue for all kinds of people to find themselves.
For example, the Brooklyn Conservatory of Music has the largest clinical music therapy program in Brooklyn and provides music therapy in schools, senior centers, and community centers at 38 sites across New York City. The Conservatory works with 1,600 children, teens, adults, and seniors to help them reach their developmental, physical, social, and emotional goals through music therapy, including people with developmental, cognitive, and neurological delays; Autism spectrum disorders; Alzheimer’s and dementia; and emotional and psycho-social trauma.
Below is a quick but touching introduction to the work the Brooklyn Conservatory does in its music therapy program:
Disability studies is an emerging area of inquiry in the musicological world, with publications only appearing in the last decade or so. In his 2011 book, Extraordinary Measures: Disabilities in Music, music theorist Joe Straus frames the concept of “disability” as a social construct, not a medical condition: our societal needs decide and define what is “disabling” based on what activities we collectively expect, need, or value. There are aspects of music making that thrive due to traits that might otherwise be disabling—social anxiety, narcissism, autism, obsessive compulsive disorder—but these traits can be crippling in musical contexts, too. We don’t typically tell the stories of musicians whose physical, mental, or neurological traits completely prevented them from achieving fame, accolades, or success*—just the ones who were “normal” enough to use their abnormalities to their advantage.
*But what is success, really?