Understanding Signed Music
Cripps & Lyonblum
Understanding Signed Music
Jody H. Cripps
Towson University
Ely Lyonblum
University of Toronto
Abstract
The existence of music performances rooted in American Sign Language (ASL) and deaf
culture indicates that music is not exclusive to the audible domain. Terminologies such as “deaf
music” and “visual music” as used in the literature are subject to discussion and clarification.
Theory, roles of language, culture, and music and their relationships to each other become
important for exploratory investigation regarding what music means to deaf people. As a result,
signed music is the term deemed most appropriate to define the original lyric and/or non-lyric
musical performances done by native deaf signers. This is different from English-to-ASL
translation of songs that may be a common practice at present. Unlike translated songs, signed
music performances are originally developed within the signed modality. Signed music frequently
includes deaf experiences and is fully accessible. A review of a study on the work of two deaf
performers demonstrates how signed music constitutes a unique form of performance art, yet
shares elements that are common to music in general. This paper is intended to generate a greater
interest among scholars and researchers on the topic of signed music, and expand the scope of
signed language performance art.
Introduction
“I see little of more importance to the future of our country and of civilization than full recognition
of the place of the artist. If art is to nourish the roots of our culture, society must set the artist free
to follow his [or her] vision wherever it takes him [or her].”
- John F. Kennedy, 35 th President of the United States
The concept of signed music is new and exciting by all accounts, but at present, the
definition of music is far from clear to the deaf community. While deaf people are known for
signing or using American Sign Language (ASL), they have frequently struggled with talking
about music, especially about the possibility of a form of music that is enjoyable and authentic to
their experience. While there are indications that signed music has been around for some time,
only in recent years has it experienced a growth with increasing sophistication. While terms such
as “deaf music” and “visual/eye music” are used in the literature, the term “signed music” is most
accurate. The reasons for this are explained below. One must ask: What does signed music
encompass? Is deaf music just another term for signed music? In addition, music is conventionally
perceived as primarily an auditory phenomenon. Yet original musical performances created by
deaf performers are a real phenomenon, and very much misunderstood at this point in time (J. H.
Cripps, Small, Rosenblum, S. Supalla, Whyte, & J. S. Cripps, in press).
The aim of this article is to generate a greater understanding of signed music as an art form.
This includes taking note that watching original musical performances through hand and body
movements appears to be enjoyable and authentic for deaf people. A review of the study published
on two deaf performers serves as the basis for the existence of signed music and how it compares
SASLJ, Vol. 1, No. 1 – Summer/Fall 2017
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