Traditional music theory rationalizes abnormal musical elements (like dissonant or chromatic tones or formal anomalies) with respect to normal ones. It is thus allied with a medical model of disability, understood as a deficit or defect located within an individual body, and requiring remediation or cure. A newer sociocultural model of disability understands it as a culturally stigmatized deviance from normative standards for bodily appearance and functioning, analogous to (and intersectional with) race, gender, and sexuality as a source of affirmative political and cultural identity. The sociocultural model of disability suggests the possibility of a disablist music theory, one that subverts the traditional therapeutic imperative and resists the tyranny of the normal. Disablist music theory is music theory without norms, and without a commitment to wholeness, unity, coherence, and completeness—those fantasies of a normal, healthy body. Instead, disablist theory brings the seemingly anomalous event to the center of the discussion and revels in the commotion and discombobulation that result: it makes the normal strange. In the process, it opens up our sense of what music theory is and might be.

中文翻译：

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音乐理论的治疗势在必行与正常人的暴政

传统音乐理论将异常音乐元素（如不和谐或半音或形式异常）与正常元素合理化。因此，它与残疾的医学模型相关联，被理解为位于个体体内的缺陷或缺陷，需要补救或治愈。一种较新的残疾社会文化模型将其理解为对身体外观和功能的规范标准的文化污名化偏差，类似于（并与）种族、性别和性行为作为肯定的政治和文化身份的来源。残疾的社会文化模型暗示了一种残疾音乐理论的可能性，一种颠覆传统治疗要求并抵制正常暴政的音乐理论。残障音乐理论是没有规范的音乐理论，并且没有对完整性、统一性、连贯性和完整性的承诺——那些对正常、健康身体的幻想。相反，残疾理论将看似异常的事件带到了讨论的中心，并陶醉于由此产生的骚动和混乱：它使正常变得奇怪。在这个过程中，它开启了我们对音乐理论是什么以及可能是什么的认识。