Abstract

The field of Disability Studies privileges personal narrative perhaps more than does any other field, and so it is with a personal concern—shortly to become political as well—that I begin. When Matthew Bribitzer-Stull and I started this project, to be joined later by Gottfried Wagner, my role on the team was simply that of the only University of Minnesota faculty member with appointments in both Music and Jewish Studies—a Jew playing the not uncharacteristic role of middleman in organizing the international conference whose presentations form a nucleus of this volume, but no Wagnerian of either the musical or cultural/historical stripe. As the project evolved, I increasingly internalized its importance (feeling what I’d always known) and became increasingly driven to make my own scholarly contribution. Given our cast of notables from Music Theory, Musicology, Literature, and History—Wagner specialists all—I decided I could best serve this enterprise using the tools of Disability Studies, rarely applied to music by anyone other than me, in interrogating Wagner’s artistic and polemic creations. Embarking on a methodologically new project, I pose here appropriately fundamental questions.

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