Understanding Signed Music
Cripps & Lyonblum
A Demonstration of Signed Music
Attention now shifts to understanding how two contemporary culturally deaf performers
created music that is enjoyable and entirely visual through both lyrics and non-lyrics. This is made
possible through references to the case study published by J. H. Cripps et al. (2017) on the music
performances produced by the performers. The researchers relied on the ethnomusicological
approach to examine the first performance, Eyes by Janis E. Cripps (https://www.youtube.com/
watch?v=YnwJsFHFebg) and An Experiment Clip by Pamela Witcher (https://www.youtube.com/
watch?v=zPHraTb36wc). Thick description (Geertz, 1973) and comparative analysis were two
methods that the researchers used. Three different clips for each performance were targeted for the
use of musical elements, linguistic principles, and media formats. Each of the clips was described
using thick description format. Data from both performances were then compared as part of
comparative analysis. The findings are substantial and important. Based on the analysis of Eyes
and An Experiment Clip, there are analogues to the music properties, with the evidence of rhythm,
timbre, and texture as well as motif. Although more work is needed with other signed music works
in the near future, Eyes and An Experiment Clip align with the non-Western version of music (due
to the absence of melody and harmony).
Through the researchers’ analysis of the two performers’ work, it became clear that their
musical pieces incorporated deaf people’s experiences reflecting the perspectives in deaf culture.
For example, in J. E. Cripps’ piece, she began her song by looking closely at her hands as if they
had special value for the production of ASL. She also expressed the value of her eyes for the
perception of her language as well. The motif of water-like movement with series of rhythmic
variations can be seen in J. E. Cripps’ piece, and the reference to the water has a significant
meaning. The music cannot be easily produced in the water, but the visual version of the music is
readily expressed through her use of hands and movements. The message in response to audism is
quite clear. Music is not limited to the audible sense as promoted by society at large.
For the purpose of this paper, only the description of how lyrics and non-lyrics occurred in
signed music is provided. This is part of confirming signed music’s following through the
framework on music’s ties to language and culture through the production of lyrics and non-lyrics
as discussed in the preceding section. One clip from An Experiment Clip and the other from Eyes
are provided for viewing follow:
Video 1: Experimental Clip
https://youtu.be/8Ttxu_UhCHA
SASLJ, Vol. 1, No. 1 – Summer/Fall 2017
85