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Music education for the visually impaired

Summary: A compendium of articles from Braille Music magazine, with supplementary material

A compendium of articles from Braille Music Magazine, with supplementary material

Compiled and edited By Bob Hoare and Rosamund Hoskins

June 1993

Preface

It gives me enormous pleasure and satisfaction to add a few paragraphs to this compilation of advice and information to music teachers of visually impaired children. The lack of such material has, for many years, been a matter for the deepest concern.

It is important to stress that, although this is distributed by RNIB, in no respect does it represent the official views of either RNIB’s music services’ management team or of the Institute’s Music Sub-Committee. Indeed, on a number of topics discussed, a divergence of opinion and practice will be clearly detectable. It will then be for readers, in their wisdom or increasing experience, to choose which way to go.

These articles actually exist, at last - thanks to the initiative and generosity of more than a dozen teachers in the field, and is therefore, a veritable treasure-house of wise counsel and honest-to-goodness common sense. I am thrilled and privileged to have assisted in its production and would like to thank all contributors for their never-failing co-operation. Also, I wish to acknowledge, publicly and gratefully, the quite prodigious commitment to this project by my co-editor, Rosamund Hoskins.

Without her thoroughness in its presentation, this compendium would undoubtedly have been seriously devalued. A highly specialist volume such as this can very quickly become as unfruitful as an untended garden. I hope, therefore, that it may be regularly reviewed and updated so that it may bring support to the diffident, and stimulus to all, for many years to come.
Bob Hoare ARCO GRSM ARAM Music Adviser, RNIB, 21 May 1992

Introduction

I am pleased to have been invited to contribute a short introduction to this volume as I am, by the circumstances of my own career, not otherwise qualified to contribute to it.

As readers will readily understand, it is a compendium of views, drawing upon the experience of a large number of those who have devoted their professional lives to the education and training of visually impaired children. It makes no attempt to propose a single, reasoned response to the multifarious peculiarities occasioned by the instruction of pupils whose only point of contact is that they share a particular disability; nor does the book set out to establish the existence of a clearly defined school of thought among teachers which would represent a coherent picture of what is, or is not, good educational practice.

Its aim is to provide a record taken at a particular moment, of the opinions of the country’s most experienced teachers of music to visually impaired children. During a period of rapid change in the world of education, such an endeavour is timely on two counts.

Firstly, we are in danger of discarding, through sheer ignorance, too much of the wisdom of past decades, scarcely realising that without it we are likely to make mistakes that have been made before and compelling future generations to rediscover solutions to old problems. Secondly, the structure of education for the foreseeable future dictates that the teaching of visually impaired musicians will be entrusted to a much larger number of individual teachers without previous experience of this kind of work. The book will offer to these an invaluable bank of ideas to be accepted or rejected as may seem right to them.

There is, however, one distinctive thought which I feel it right to contribute. Although my own early training was of the kind described in the following pages, my professional life has been entirely spent in one of our leading colleges of music where I have been wholly concerned in the training of students destined to become professional musicians.

It should be borne in mind that the most able and dedicated of the children discussed by the contributors to this volume are not fragile simply because they lack sight. The musical profession is intensely competitive and whether we like it or not, those with professional potential should spend the years from 8 to 14 hard at work on the business of building a formidable instrumental technique.

A realistic target for those who might wish to enter a college of music is that they should have achieved a distinction at Grade VIII of the Associated Board one year before GCSE - that is at the very latest by the time they reach 15 years of age, although singers will need longer than this so that their instruments have time to develop.

Visually impaired children are not exempt in any way from this necessity. They need to practise harder and longer than sighted children who share their ambitions because if they are to succeed they must make themselves better than their peers.
Geoffrey Jackson MusB GRSM FRNCM Head of Academic Studies

Royal Northern College of Music

May 1992

List of Contributors

Judy Bailey: MA, LGSM, (Former music teacher, Henshaw’s School, Harrogate)

J. Andrew Beaizley, FRCO, GRSM, ARMCM Dip AEWVH. (Director of Music, Royal National College for the Blind, Hereford)

Philip Coleman, (Partially sighted musician and technician)

Michael Campbell, FRCO (CHM), LRAM, ARCM (Blind musician, Head of music, Dorton House School for the Blind for 19 years: Head of Music, RNIB New College Worcester for 16 years until retirement in 1991).

Tessa Donaldson, ARCM (Former visiting instrumental teacher Dorton House School)

Simon Hayward, M.Mus (Lond). LRAM, (Visiting. instrumental teacher, Dorton House School)

John R. Kinghorn, Mus.Bac, FRCO, ARCM (Blind musician, retired, former music teacher RoyaiVictoria School for the Blind, Newcastle upon Tyne).

Daniel Kingshill, B.Mus (Lond). (Visiting instrumental teacher, Dorton House School)

J. Peter Salt, B.Phil, FNSM, LRAM, LGSM, ATCL, CTB (Partially sighted musician, using both print and braille: retired teacher and senior music lecturer College of Further Education, Bath).

E. Jill Smith, GRSM, LRAM, CTBDip (Former Head of Music, Dorton House School, retired after 25 years teaching)

Maeve Smith, (Responsible for music education, St. Joseph’s School for Blind Boys, Dublin)

Pam Smith, B.Mus (Hons), PGCE (Former Music Adviser, Disabled Living Foundation)

Elisabeth Stagg, (Former music teacher Lickey Grange School, Birmingham)

Sheila Wilson, B.Mus, AKC, ATCL, ALCM (Music Teacher Temple Bank Special School).

Sue Walker: M.Ed (Head of PE, Dorton House School)

Setting the Scene

by Jill Smith

I have recently read a book, published by RNIB in 1945, called, "A Handbook for Blind Teachers of Music" - a fascinating publication. It is very clear, however, that during the years since the book’s production, many changes have taken place - particularly in the world of specialist schools for blind pupils. The kind of children we teach has changed so our aims are different and our teaching methods have had to be modified. Another change to note, therefore, is a broadening of the curriculum. In the past, the major emphasis was on braille of course (reading and writing), English, mathematics and religious education, music and craftwork. There were no transistor radios, tape recorders or other fascinating distractions so that pupils had more time to learn to read and write. Many were excellent musicians who went on to study professionally.

They had the ability to earn a living as music teachers, organists etc. They were respected for their technical ability and memorising of music. Education now includes all aspects of self-care - washing, cooking, shopping, cleaning - and fosters a deeper awareness of the wider world than used to be the case. More children now enjoy language studies, scientific and computer studies, trips abroad, mobility training and many sporting activities from skiing to swimming, judo to dancing. Inevitably, all this has quite dramatically affected the amount and depth of studies in music since there is no longer as much time available as in the past.

There is a concern that blind children who are going into open education or units may lose out on the chance to learn music as much as they might. Braille music is a system requiring much time for the learning of it and many sighted teachers with, perhaps, just one or two blind pupils may understandably feel they simply cannot spare the time to learn it. A widely held misconception is that all blind people are very musical.

This is not true. What is true is that, if a person has a natural interest in music, and for some reason becomes blind, they will develop the remaining senses, especially hearing. Therefore, many blind people are acutely appreciative of music and an amazingly high percentage of blind children have "perfect pitch". To study and practise music can bring great joy to a blind person, making social integration with sighted people much easier. Musical activities, such as choral singing, can be of enormous value for a person having left school. Music can open doors.

So, music is, in so many ways, important to blind people and it’s right we should now be asking: "Where is the musical education we offer blind children leading?" The book I referred to earlier, was written by some blind musicians of the 40’s.

Since then there have been, and still are, blind musicians of great ability, some of whom I’ve had the honour to meet; but what of the future? In those days education for blind students was largely in the hands of blind musicians who taught and trained others who could follow them, to their own very high standards. Now, much of the education of blind children, musically as well as generally, is in the hands of sighted people.

However, the ability to learn or teach braille music and understand the memorising and aural capabilities of the pupils could be better handled by a blind teacher. This is my firm opinion, having taught for more than twenty years in a school for visually impaired children. A music department including blind and sighted teachers might sound a luxury to a small school but in some ways is a desirable situation.

When I worked in such a team I certainly felt it was mutually advantageous. When I started teaching in a school for visually impaired children I was the first sighted music teacher to have been employed there and I found out that, I had "rushed in where angels feared to tread". In surviving, however, I learned a great deal for my own good. One of my most memorable experiences came in my first week - a very impressionable time! One evening, after a class music lesson, a very nice top junior girl came up to me and said, "Could you play us the tune we had in music today?" "Sorry," I said, "I haven’t got my music with me." She looked totally amazed. "What do you mean ... how is it you can teach us when you don’t know it yourself?" I have never forgotten that conversation and I hope it has helped me to be more understanding, and patient. It was the best lesson in humility that I have ever had.

Chapter 1 Music Literacy

1.1. Is music really so difficult to teach and to learn?

J. P. Salt

I voiced my worries regarding illiteracy amongst visually impaired musicians, especially the young, at an RNIB Music Sub-Committee meeting sometime ago and gave the opening lecture at the first seminar on the teaching of braille music (RNIB, November 1987): this article is based on that lecture.

In common with staff notation, or any other notation, braille music is not a subject in its own right but a vital part of a programme of music education based upon class music, which should include singing, aural training, some instrumental work, music appreciation and so on; in addition, individual lessons should be available for children requiring them but these should supplement class music and never replace it.

This is the surest way to foster musical talent at all levels and such a programme also contributes to general child development, especially that of the visually impaired because it encourages critical listening. Music literacy is a passport to music-making, enabling us to perform other people’s music; its actual acquisition contributes to the development of musicianship, provided it is taught through the sound i.e. the eye sees a note, or the finger feels it; it is perceived in the mind’s ear; it is sounded and finally heard; all this happens so quickly that it appears to be simultaneous.

The more senses that are brought to bear upon any learning situation, the greater are the chances of success and I tell students that it is a pity music cannot also be smelled! In addition, any ability in any music notation, at any level, makes music-making more easy, more enjoyable, more fun and thus more effective, Visually impaired musicians must memorise much of the music they wish to perform and this can be tedious, so it makes good sense to minimise this memorisation.

Nobody can pick up all types of music completely accurately by ear, however gifted and able they may be - I have known some very gifted and able visually impaired musicians who support this view. Listening to a recording of a piece to gain an impression of it and decide whether or not to learn it, is a good idea because this can partially help to compensate for the unfortunate fact that visually impaired musicians must learn in order to play rather than play in order to learn. Basic methods should be those that have been tried and tested with the able-bodied, with appropriate modifications to accommodate a visual impairment.

This is educationally sound, aids integration and participation in public examinations, with a minimum of concessions and fuss. Some visually impaired children who display any interest in music are too often "put on the piano" almost automatically, which may be good for some of them but, for others, classroom instruments, or some other instrument, might be more appropriate. If possible and there are no medical objections - there rarely are these days - those who are able should use staff notation, with low vision aids if necessary, even if they must use braille eventually because of deteriorating eye sight; this aids concept-building, vision being the dominant sense.

A visual reading system is superior to a touch reading system e.g. it is impossible to represent music vertically in braille; the eye can take in a whole phrase at a glance, many defective eyes performing better than fingers - the finger is a smaller window than the eye. Therefore, children who can use some vision for at least part of their education and upbringing will have an advantage over those who are congenitally blind, which will stand them in good stead for the rest of their lives. It is obvious that staff notation provides immediate access to all available printed music, something which braille, large print and any other system involving transcription cannot possibly do; for this reason, it should be used in its normal form whenever possible.

Braille music is a perfectly viable system; I have mentioned some of its deficiencies first because a realisation of these by teachers and, later, by the pupils themselves, is necessary for the building of firm foundations and because I have frequently heard them cited as reasons for not teaching it to visually impaired children. We have a solemn duty to do everything in our power to encourage and enable all children to go as far as they wish and as far as their abilities allow. We should be cautious when trying to forecast what particular children might be able to do but we should be even more cautious if we try to forecast what they might not be able to do.

This also applies to standards in general; children go to school to have their horizons broadened and their standards and expectations raised. In common with the sighted, there will always bet visually impaired children for whom any music notation is inappropriate but many children can benefit from learning some braille music, provided it is taught properly and limited to what is necessary for actual music-making e.g. recorder players only need to know the notes they are working with at the time. Some apparently convenient methods of teaching it are at variance with established practice and best educational methods e.g. teaching the quaver first so that the bottom dots can be added later to form different note values.

Sighted children begin by learning the crotchet as a one pulse note and complying with this also avoids the confusions that can be caused by the letter "D" representing the note "C" and so on; this is more easily coped with later, when the pupil has acquired some knowledge and experience.

I am sure that using the same signs for different purposes does not constitute the big problem that some people imagine it to be; a suitable analogy might be to point out to children that they may know a few girls called "Christine", every one of whom is very different but they never mix them up because each "Christine" conjures up distinctive images in their minds.

The same is true of braille, where different shapes have different meanings in different contexts. Sight-reading is fun - blind people do use this term and it would be pedantic to do otherwise. Although somebody sight-reading from braille can never achieve anything comparable with somebody sight-reading from staff notation, useful and enjoyable work can be accomplished.

Sight-singing has obvious advantages for the braille reader and should be attempted by everybody because it also has other benefits but it does have its own particular problems. Limited sight-playing can take place on the piano and on one-handed instruments e.g. special recorders made by Schott; (it is unfortunate that such instruments tend to be expensive).

Two pupils can sit at the piano and play a hand each whilst reading with the other, thus the complete piece is heard, aiding comprehension and musical interest. Making music together has other benefits e.g. improving rhythmic sense; it is also good social training but if there is nobody to play with, one hand can be recorded and the other added to it afterwards – all good fun; how I wish music had been more fun when I was at school!

At this level, visually impaired children can play to learn in common with their sighted peers and, although it is impossible to keep up with them later in this respect, they should not be denied this pleasurable and profitable experience, especially at the beginning when motivation is vital. With a reasonable reading speed, the braille reader can, to some extent, simulate taking in a phrase "at a glance", which is perhaps analogous to a cine film, in which single frame pictures succeed each other with sufficient rapidity to provide the illusion of movement.

It is obvious that we need as much music as possible in braille but we also need a variety of it, presented in different formats for different purposes e.g. music for beginners should be stripped of everything that is not essential, such as expression marks because these cannot be placed over or below the music; they clutter it up and slow beginners down; pupils’ copies of some piano examination music [Grades 1-3 piano, Associated Board], published by the RNIB are a good example of this.

I believe that anybody pursuing music beyond anything other than an elementary level will need to acquire some knowledge of different braille formats i.e. bar over bar, bar by bar and so on. Because so little music is published in braille compared with what is available in print, there will be pressure to braille music that is not available at all, rather than re-print music already available, though be it in old and unsatisfactory formats.

It is important to understand this point of view, chiefly held by professional musicians requiring copious amounts of music but we must also consider the needs of those coming to the system for the first time, especially the young, and those who teach them. The position is further complicated by the existence of important works in outdated editions. In my opinion, the answer to the problem is relatively simple; braille music production must be greatly increased and the products shared between countries; the methods of teaching it must be continuously reviewed. There is an added bonus in that this would provide more employment for visually impaired musicians but this is something for which interested parties will have to fight.

Not all visually impaired children are outstandingly talented but they are more musical, at their own particular level, than they would have been had they been fully sighted because there has been a greater emphasis on listening; there is evidence to support this e.g. a higher incidence of absolute pitch amongst the visually impaired, especially the totally blind; in most special schools for the visually impaired, which are small compared with mainstream schools, enough children can still be found to form choirs capable of producing a higher standard of singing than would be possible in mainstream schools of similar size.

For the visually impaired, it must make sense to place some emphasis on a subject in which listening is more important than looking. Therefore, these children should be given proper opportunities in music so that they may advance as much as they are able, whether this be half a step or a million steps - the number of steps is unimportant. There should be music input into every course of training for specialist teachers of the visually impaired e.g.

  • an optional paper, including a working knowledge of braille music, although it is unlikely that this could be attempted purposefully by non-music specialists;
  • what the non-music specialist can accomplish in class music, preferably in co-operation with a music specialist and
  • how the specialist teacher of the visually impaired can help and guide specialist music teachers, particularly in integrated situations.

My lecture finished on a musical note - perhaps I should say notes! Two visually impaired members of the audience came to the piano and sight-read a simple piece by James Ching, playing a hand each whilst reading with the other; it had not been arranged before hand. So, we finished with a public performance of a piece of music, sight-read from braille.

1.2. A Comparison of music reading from staff notation and from braille

J. A. Beaizley

For the person intending to teach music to the visually impaired, the following comparison of music reading from staff notation and from braille may be of value.

1. With the use of vision, it is possible to scan and read ahead and to assimilate a large quantity of information at one glance. In addition, staff notation is "graphic", that is appearance is related to sound. Vertical alignment, for instance, gives an indication of the relationship between notes in chords or in part-playing.

2. In braille music notation single items of information are presented consecutively and what may be expressed quite simply in staff notation can often be more complex when written in braille. For the braille reader, a greater understanding of musical concepts and structures is necessary, especially in the earlier stages. Because of the way in which the braille music system is constructed, one misread braille dot can render a bar of music totally meaningless.

A more painstaking approach is therefore essential. In addition, mistakes are possible in braille music reading for which there are no equivalents in staff notation. Failure to detect, or recognise an octave sign is an obvious example. In short, for a blind person a general lack of musicianship, reasoning ability and motivation so vital to the efficient use of braille music, can prove a serious obstacle to the mastery of the system. Nevertheless, it is possible for an experienced visually impaired musician to handle braille music notation with a facility equal, in its own way, to that of his sighted counterpart: even if, because of the cumbersome nature of braille music, a longer time will generally be required to produce an equivalent result.

1.3. The music code

M. Campbell

The system of braille music notation is a wonderfully conceived method of showing, in exact detail, all the finer points of a musical score. The system itself was constructed by a man of clear thinking, and logical thought processes, and possessing a keen musical mind. Exaggerated claims as to the system’s difficulties are often advanced. In my view, however, it could also be claimed that, for example, the maths braille code chess notation, nay, even standard English braille is difficult; yet I do not hear these cases being Stated. Music would appear to be different. Perhaps this is because not only has the reading of the system to be mastered - meaning the ability to recognise a C crotchet or in-accord sign - but the combined significance of the signs has to be understood and actuated, adding greatly to the feeling of complexity. Also working against music, is the fact that pupils can play at music, and even play music most ably which has been taught to themaurally by note - this being an easier option both for the pupil and his hard-pressed teacher, Perhaps the surest key to unlock the riches of braille music is the motivation of either being able to help oneself in learning music for an instrument between lessons, or being able, as a choir singer, to absorb some of one’s own part while others are being helped with theirs.

Most musicians would agree that for pianists the memorising of keyboard music from braille and the successful combining of the hands, is something that will tend to come slowly in all except a few cases.

However, in schools for the visually handicapped today there is a good deal of work with single-line instruments for which braille music scores are, of course, rather more manageable. The pity of it is that, often, these instruments are being taught by visiting specialists who opt for aural instruction rather than making their needs known to colleagues who might be able to produce the required braille music. If, as formerly, RNIB proves capable of producing an ever-increasing catalogue of available music, I feel that one of the needs to be met is a continuing demand for music which can be read by a growing number of beginner instrumentalists. It is hoped that braille will be used more extensively in this sphere than it has in the past.

1.4. The value of braille music

S. Wilson

Braille music has much value despite its complexity since it offers independence through the ability to study written music. It certainly repays the amount of learning time required. Without it, pupils must rely on aural memory alone and whilst this is a worthwhile and very commendable skill to develop, it is important to have a written source to refer to if necessary, as a prompt or initial stimulus, or simply for the pleasure of reading music. It is quite wrong for pupils to be denied this significant dimension of music to which their sighted peers have ready access.

Pupils who can read braille music don’t have to rely on others to dictate or play to them. They can take a piece of music to study and learn quite independently and thus have equal access to the relevant areas of music literature. One particular pupil of mine is musically very gifted and has perfect pitch. Her memory is excellent. She is now able to read and subsequently play a single line of music for recorder and enjoys learning this new skill.

She readily admits to finding it much easier to rely on her memory alone and to learn by ear but I’m sure that as time goes on, she will be increasingly glad to have mastered the braille music code: Another pupil especially enjoyed being given familiar tunes to identify. I would dictate to her and she would write the tunes in braille. In this respect, the RNIB publication "Braille Music for Beginners", by Joan Partridge was particularly helpful.

1.5. Braille music - A teacher’s discovery

M. Smith

At the interview for my present job, the question of braille music arose. The impression I gained was that this was a difficult subject and could be confusing for the young pupil - especially as the note C is sometimes represented by the letter D. I started at St. Joseph’s then, with braille music not too high in priority. However, I maintained an exploratory attitude in regard to bringing independence to my pupils in learning to play an instrument or to sing. I spoke to two blind musicians from Dublin (Daniel McNulty, an FRCO and a B.Mus from Trinity College Dublin and Mary Moore, an LTCL in piano teaching) and wrote to Bob Hoare, Music Adviser at RNIB.

The consensus view of these three was that, though there are other teaching methods, and aids to teaching, there is no substitute for the braille music system.

So, I set out on the trail of bringing the braille music code to my pupils and after a summer of studying, introduced them to it at the beginning of the September term. With continuing help from RNIB we obtained copies of "Braille Music for Beginners" by Joan Partridge, which we found to be simple, straightforward and practical.

More recently, we obtained "Music through Braille" by Dr. Anne Burrows, which has proved a good follow up to the Partridge, and these two volumes, with the international manual as a reference, are our standard texts.

The question of who learns braille music is an important one, which I discussed with our principal before starting out on this venture. I find that the intelligent child has no real problems with braille music. The less so do what they can but for all of them, and for me, the subject is endlessly fascinating. Those pupils who, through lack of ability or commitment to braille Music, do not learn the system, rely on aural repetition and, perhaps, the tape recorder.

However with some surprise I have found that, generally, pupils already used to literary braille, take braille music in their stride. One pupil, commenting on treble and bass lines and spaces as used in print music said: "What a weird way of doing things!" We were in the woods. NOW, there is a clearing and we’re on our way.

1.6. Summary

R. Hoare

Many blind children have an innate musical talent, which it is our duty to develop as fully as possible. Music education brings so many benefits to the visually handicapped child:

1. It trains them to listen and interpret the sounds they hear

2. it develops memory

3. It develops good co-ordination

4. It enables them to integrate socially

5. It could lead to employment or at least provide a means of supplementing income etc.

Music education should be based on class music because

    1. This is the surest way to determine the breadth of a child’s musical ability and

    2. It aids, significantly, child development.

Music literacy, to whatever appropriate level, should be expected of all visually handicapped children (unless they are mentally or physically unequal to it) because it;

    1. Leads to more rewarding participation in music-making

    2. Enables participation in public examinations

    3. Allows musical independence in later life.

    Even to the below average child, braille music reading is possible to some degree - provided it is properly taught. If keyboard music is too complex for a pupil, single-line or words and voice formats should be the aim so that instrumental music, or choral singing, can be enjoyed. Until the preparation of other primers has been completed "Braille Music for Beginners" by Joan Partridge and "Music Through Braille" by Dr. Anne Burrows are the recommended books from which the braille music code may be taught to young children. Assistance is needed (and suggestions have been made to that end) for the adequate preparation of teachers involved in music education of visually impaired children.

Chapter 2 Piano Teaching

2.1. Common problems in piano teaching

J. A. Beaizley

The following is intended principally for pianists, but will also include comments relevant to other instrumentalists illustrating some of the difficulties met by visually impaired musicians in general. When a pupil asks for piano lessons, there are two important questions to be considered:

    1. What are the pupil’s aims? Different criteria will apply to those hoping for a career in music than for those interested in music as a hobby.

    2. What is the appropriate medium in which they will work? - Each pupil must be provided with the correct medium for learning new music, chosen in relation to their particular needs and abilities. The method chosen for learning new material is clearly of crucial importance. The, choice of media is wide, and any one may be used in conjunction with others.

2.1.1 Braille For those with little or no vision, this may be the answer. However some pupils may have a strong aversion to braille music, acquired in earlier years. With the right approach they may overcome this, although some do not. A limited amount of sight-reading is possible but, for musicians who need both hands to play their instrument, there is no alternative but to memorise the text before being able to play it. For those pupils with little or no sight who wish to make a serious attempt at the traditional repertoire, there is no alternative to the braille music system. To ensure any degree of success, this must be taught properly and systematically, and ideally from an early age.

2.1.1 Ordinary size staff notation - A visually impaired pupil may have good enough sight to manage this method, though some of the comments relating to enlarged staff notation may be applicable.

2.1.2 Enlarged staff notation - This may answer the needs of some, but is no panacea. For those with certain eye conditions, enlargement of text can be useful. However, past a particular point of enlargement, the process becomes counter-productive. The larger the text, the smaller the amount that can be seen at any one time. This can cause problems with alignment and fitting parts together, and may result in excessive movement of the head. With any kind of print reading, there are two important considerations: music stands and lighting. Information on these and other aids to print reading can be found in the chapter "Visual Aids".

2.1.3 Cassette tape - This method is particularly appropriate for use in conjunction with any of the other options, and enables quicker progress especially in the early stages of braille music. It is also a lifeline for more advanced musicians who have recently lost their sight and cannot begin to tackle braille music before becoming conversant with ordinary braille. The drawback is that each pupil will require a different amount of musical demonstration and verbal explanation; therefore a tape produced for one pupil may not be appropriate for others.

2.1.4 Disc - This can be used in conjunction with a sequencer and an electronic piano (or a conventional instrument) with MIDI facilities. The teacher can record the notes of a piece in such a way that the pupil can switch off the RH or LH part and play it themselves along with the recording of the other hand. In addition the speed may be changed without altering the pitch. There are two further choices worth mentioning.

One is where the teacher tells the pupil what notes to play. This kind of spoon-feeding is a tedious method, extremely unrewarding for the teacher, and only to be recommended when the pupil is completely unable to use any other method. The other concerns those who are multiply handicapped and possess an ability to reproduce at the keyboard anything they hear - the aural version of a photographic memory. It is difficult if not impossible to "teach" someone of that kind, where a seemingly impressive ability hides a real lack of any learning ability, in the normally understood sense of the term.

2.2. General comments

    2.2.1. Choice of music - For those working from braille, because of the nature of braille music it is rarely, if ever, possible to select a teaching book and to work through it in the same way as with a sighted pupil. A lot of time and effort goes into memorising music, so it must be of sufficient worth to justify that effort and, at the same time, achieve the technical improvement it was intended to produce. Therefore many aspects of technique will need to be examined within the context of the piece being learned. In addition, however, there are any number of short technical exercises which may be taught by ear. The teacher can also adapt existing exercises or make up some original ones.

    2.2.2. Posture - Whereas a sighted musician can check posture by visual example and by looking in a mirror, this aspect can produce difficulties for a visually impaired musician, whether they be teacher or pupil. Often, the only clue to a fault with posture may show in the final sound or in some difficulty with a particular aspect of technique. Partially sighted pianists are inclined to lean forward when reading music, which prevents free movement of hands and arms and may cause aches in the back and in the neck.

The wearing of high magnification spectacles can often result in stiffness and tension, causing problems with rapid keyboard movement. Correcting the position of a pupil with their instrument needs to be done with great sensitivity. This can be done either verbally (not usually very effective) or by physical manipulation, although some pupils will have a low tolerance of this, and the teacher will need continuously to monitor the situation in order to avoid undue distress on the part of the pupil.

    2.2.3 Use of two pianos - The availability of two pianos can be a great advantage when teaching totally blind or partially sighted musicians : especially if they have poor mobility on the keyboard. It can be very disorientating for them to be repeatedly moved away from the keyboard while some point is being demonstrated.

    2.2.4 Relationship with pupil-Music is a particularly personal experience, therefore the pupil teacher relationship must be of the right kind. This is even more important with a visually impaired pupil. Some are more forthcoming than others and will quickly settle into an easy chatty relationship, while others will need much more drawing out. With music, and especially with the visually impaired pupil, it is important to teach the person rather than the subject. When an atmosphere of real trust has been established, then honest criticism can be more easily given and received.

2.3. Principles of piano teaching

M. Campbell

I would not wish to be too dogmatic about principles of piano teaching for the visually handicapped. Each pianist is an individual, and what works for one may be totally inappropriate for another. However, a few general points occur to me.

I start with the aural and tactile things: sounds, note-names and how to find notes (the white piano keys) by reference to the black keys. I usually start with finding D’s, from the middle one, we work outwards in each direction and discover how many D’s there are, and I will be naming them as they are found by the pupil - 4th D, 5th D, etc.; then we move to C’s, afterwards E’s. This is usually enough notes to handle at the first session, so we then move on to learning to play a piece, for instance, "Hot Cross Buns" from "Music Makers" by Joan Last.

At a subsequent lesson we would add perhaps G and A to the note-finding list. I spend quite a lot of time on finding notes to try to avoid the "note-trying" for location to which the aurally able young V.H. child is often prone. Further stages of location may take the form of notes in specific octaves, first singly, later with hands simultaneously. Also we find the notes to form words of musical sounds; e.g. Bag, Dad, Cage, cabbage etc. and with a musically "mobile" pupil we have fun with leaping around the octaves: 5th C, 2nd A, 3rd B, 5th B, 4th, A, 2nd G, 6th E to form "Cabbage". I use a little braille very early on. In the situation where I have a child for 40 minutes (rather too long for a lesson for a beginner), I would show him/her some braille in the first lesson. A book I tend to use a lot is J. R. Kinghorn’s "From the Beginning".

This consists of 7 handy-sized pamphlets full of tunes, which can be either played or sung. The great advantage of this book is that there is so much practice material for each new step along the musical road. Also, time-signatures are not indicated, so have to be discovered by the student. Likewise, the tunes for Books 1,3 are all within a five-note compass, but this, also, has to be investigated by the pupil. A bright student will not need to try more than a few examples of each new musical idea. Book 1 uses only crotchets; Book 2 introduces other time, values - minims, dotted minims, semibreves, the tie, etc., but sticks to the key of C. Book 3 takes us into keys involving first 1 sharp then 1 flat, then 2 sharps, and 2 flats. Book 4 brings the quaver and other time values, and quite a lot of examples of transposition. (Incidentally, I use transposition aurally, at an early stage, trying the simplest of pieces in each new key as the scale for that key is learned.)

Fairly early in the blind child’s pianistic development interval signs and their use have to be tackled. I would usually be doing this work by the time Book 3 of "From the Beginning" is reached. A useful book for interval-reading practice material is Sinclair Logan’s "The Braille Music Sight-Reader, Supplement for Beginners". Perhaps it is worth mentioning that although this and other books refer to "sight- reading", the whole raison d’etre of the learning of the braille notation system tends to be for the ultimate memorising of music. At the earliest stage the braille-user should be encouraged to memorise the short exercises, which they are reading.

2.3.1. Learning pieces from Braille - Every encouragement should be given to the pupil to do initially some of the memorising from braille. E.g. pupil learns a few bars of right-hand, teacher shows the left, and later on, pupil will learn a few bars of combined hands teacher shows a few more bars aurally. Do not be discouraged if the pace of work seems slow. For the majority of braille music learning pupils it will be. The blind musician who is strongly motivated towards braille music learning tends to be a rare phenomenon,

2.3.2. Pupils’ copies - The RNIB publishes a limited amount of music in a "Pupil’s copy format", that is, a copy in which merely notes and fingering are shown, and none of the finer refinements of the music; among the music thus produced is that for the As.B. Grades 1-3 in each year. These prove to be very useful, for piano score in all its fullness can seem a daunting prospect to the new and inexperienced learner from braille.

However, the move towards reading from full score must come by Grade 4, and also inevitably about this stage will have to come the knowledge that we are still using varied layouts for braille music notation, and bar-by-bar will need to be tackled, as so much of our catalogue of music production exists in this format only. One hopes that at this stage of musical development the music itself will be a driving force in spurring on the pupils, will to strive and conquer, but this is not always so.

2.3.3. Fingering Perhaps it is worth mentioning that many blind pianists tend to use poor fingering to get around the keyboard; Fingering is yet another element in "the memory processes, and for some pupils is a nuisance not to be bothered with. I favour keeping patterns as simple and straightforward as possible, founding them on scale shapes, and often repeating a finger-pattern for a sequence repetition.

2.4. Learning to play

J. Bailey

Learning to play a musical instrument can be split into a number of skills With the-piano these consist primarily of listening, (to learn the correct notes and rhythms) and technical skills to produce the appropriate rhythm and note sequences; and finally but by no means least, interpretation which also depends a great deal upon listening.

During the course of teaching totally blind youngsters I have found that one of the quickest ways of teaching new music is through listening; they hear the correct notes directly from the teacher and then during practice time they can use tape recordings. (Those who use braille can refer to a braille score for re-checking between lessons). In my experience both sighted and totally blind children learn very quickly with this method of teaching, finding it easier than struggling with a braille score.

The end goal is to learn, play and interpret in an appropriate and individual way, a piece of music. Almost any means are legitimate and we must guard against treating the means of learning, i.e. braille music, as an end in itself. Interpretation is more difficult to teach. However, details of the score can be explained to pupils, leaving them, with guidance, to interpret these. Listening to varied professional performances of music by the same composer, era, etc, adds to a total understanding of the music and facilitates an appropriate interpretation.

The emphasis in this method of learning is on listening. In my experience, particularly with older children who have not had wide musical experiences in their formative years, listening skills are very poor. Teaching through listening uses and develops a skill, which is of utmost importance to blind children. So often in education the emphasis is on tactile experiences to the neglect of listening skills.

Technical skills in piano playing are usually learnt better, in my experience, by applying basic techniques from a repertoire built up by the pupil under the guidance of the teacher. For examples, basic techniques, slurs, hand positions, staccato etc. can all be learnt using easy note sequences which require little note learning. The basic rule for teaching piano for any children, in my experience, is one thing at a time.

Hence when learning a technique the student should not be trying to grapple with note location or difficult rhythms unless these are integral to the technique being learnt. For example, slurs, staccato, can be learnt using a simple five note scale. When such techniques are met in, say, a Bach Minuet, they can be "withdrawn" from the repertoire bank. The pupils will not then be grappling with notes, rhythm and technique.

2.5. Structure and content of lessons

J. Smith

Teaching visually handicapped people to play the piano can be very rewarding for both pupil and teacher. The method, and material used, needs to be thought out carefully, as progress in the early stages can be slower than with the average sighted pupil. The method must be suited to the particular child. I think the first lessons should include aural Work, which is very important, and which will give the pupils confidence in their music.

They can usually hear and respond very well to such things as clapping rhythms, singing notes, telling how many beats in a bar, (The actual beating may prove physically difficult, and should not be forced in the early stages.) Having a "look" inside the piano to see how it works can be fun and instructive. A pupil may want to feel the hammers and strings, etc. and will then have an idea of how a tuner tunes the strings. The pupil may have heard a tuner at work already. Sitting comfortably, after all these preliminaries, is the time to find out that there are 2, and then 3, raised black keys that help us find our way round the keyboard. It is good for a blind child to master this knowledge, and to keep the hands forward to check the position of notes, by the black keys.

Sometimes blind children are not very aware of their individual fingers and time must be spent locating fingers and finger numbers. I have now decided that "D" is easier to find than "C". "D" is easily found between the 2 black notes. After that "C" is readily understood, then "F" below the 3 black notes, and gradually adding all the letters. It is then a good idea to make up words using the first 7 letters of the alphabet. Play these words until speed is gained in finding notes.

Singing Solfa and applying that knowledge to the letter may be easy, as often the pupil will be found to have "perfect pitch". Posture at the piano is extremely important, sitting well on the stool with the head up. Pupils sometimes habitually hang the head believing, thereby, they can hear better. They will also, quite naturally, put their thumbs on the wood below the keys.

They should concentrate on curling the fingers over, as in holding a small ball, orange, or handkerchief, with thumbs on a level with the bent first finger. This will encourage correct hand shape at the keyboard. Check that shoulders are down, elbows free, and wrists up (or level), and the pupil sitting on the correct height of chair or stool. At first I teach exercises and pieces by rote - pieces with a good shape and familiar tune are best.

After a while, I write in ordinary braille, if they know it, or in very large numbers or letters, a piece just in letters or fingering, or both. For instance write "Put your right thumb on C and then play these numbers (or letters) " We find that letters and numbers do not give any rhythm, so that it is a logical progression to braille Music. I find out first from the class teacher whether or not the pupil knows the alphabet, and the main contractions in braille. If not the pupil is not ready for braille music. If the pupil is junior age I start with" "TH" sign which equals C crotchet "OU" sign which equals G crotchet "D" sign Which equals E crotchet and so on, (as in Kinghorn’s "From the Beginning" Book 1). There are 7 books in easy progressive order (melodies only). Fortunately, there are print copies of these books.

There is also a print copy to go with the braille copy of,’Braille Music for Beginners" by Joan Partridge. This is more suitable for older beginners at the piano. If the pupil is older, a senior, or adult, I would probably start with the knowledge that C scale is based on the braille signs for D, E, F, G, H, I J, D. These are quavers. To this a dot 6 is added for a crotchet, and a dot 3 (instead) for a minim, and both dots3 and 6 for a semibreve. A good book for average to clever pupils, using this method, is "Music through Braille" by Dr. Anne Burrows, published by M. E. MacNab Edmonton, Alberta, Canada.

This book is expensive to import to Britain (about £80) but is worthwhile for its sheer excellence. This book is available in braille and print. The printed book has the braille dots (not embossed) above the ordinary print music, so that a sighted teacher, especially someone not too familiar with the braille music code, can follow both, and learn the braille also! This book would be particularly valuable for a teacher of blind children in open education, and not attached to a school for visually impaired children. Learning a piece of music may take quite a long time, when it all has to be memorised.

A pupil reads about 4 bars or a phrase, with each hand separately, and this may be enough for one week. The number of bars learned can vary with the style and complexity of the music. Slow! But you try to put in the details as you go along, so as not to have to re-learn expression or fingering, or pedalling later.

Later, when music becomes more difficult, one sometimes finds that fingering has to be changed, for instance when encountering big leaps, say 2 octaves - move 1-5 up an octave change to 1 then move up to 5 in the next octave and also locate by the black notes’ position. To encourage braille reading, I have put famous pop tunes nursery rhymes, and melodies from the shows into braille: I then ask the pupils to guess the tune. It works, (sometimes!) but slowness in reading can put them off guessing the title. Some pupils will progress well and perhaps take public examinations.

The RNIB publishes the Associated Board of the Royal Schools of Music Examination pieces in braille every year, which is a great help. Sight-reading tests have now been replaced by a braille Memory test. Examples can be obtained from the RNIB. The candidate is given the braille sheet on entering the examination room, and at once proceeds to memorise the little piece of a few bars. After the allotted number of minutes for that Grade, the candidate has to play the piece from memory. This is a change from the old style of test where the candidate played with one hand and sight-read braille with the other. It is a better test of how braille music is used as an aid to memory.

A pupil may be able to read braille with one hand better than the other, but eventually they should be encouraged to read with both hands equally, if possible, so the right hand reads while the left hand part is learned, and vice-versa. The practice in reading can be with "Braille Music sight-reader" Grades 1-7 by Sinclair Logan.

For those who are able to play pieces at the examination grade level but who cannot learn from braille for various reasons - perhaps recently becoming blind, or have a medical condition which inhibits sensitivity of the fingers, such as diabetes or a heart condition, or literally a thick skin - I would let them learn their pieces by note, and by tape recordings. Instead of the braille Memory test, they are allowed to have the same test as an aural test, playing it back to the examiner.

As regards learning from a tape, I speak on to the tape as well as play, so that the pupil will be given the key, time fingering, etc. and about 4 bars of each hand alone, then the 4 bars together, throughout the piece. Then I play it straight through. It is very difficult to go beyond Grade 5 standard without a written or braille copy to refer to, and get the exact notation - (was it a crotchet, or was it a quaver followed by a quaver rest? etc.)

Playing by ear is encouraged more nowadays, than it used to be as in the

composing section of the GCSE. It is to be encouraged with blind musicians anyway, as they will be an asset to society if they can sit at a piano and play for a sing-along, or hymns, or dancing.

2.5.1. Children with Learning Difficulties - Many music teachers would discontinue lessons with some pupils. I have tried, quite successfully, to teach pupils who are blind and have learning difficulties.

Even if the pace is very slow, a lot of enjoyment comes with the sound of music, however simple. It is important to choose titles that the pupils will enjoy, and not too childish pieces for their chronological age. With these pupils I have used percussion instruments at first, rather than the piano, making up little Songs about anything that the pupil suggests. Finding keys on the keyboard is made a game, and every slightest improvement is praised.

After some years of near despair, a pianist has occasionally blossomed up to Grade 5 or so! Partially sighted pupils who use enlarged printed music, which can be easily produced on a good photocopier that does enlarging, are in quite a different category. It is terribly important to have the right amount of lighting, and the right sized music.

But, having got this correct, progress can be as with a normally sighted pupil. They may have to have the music closer to their faces, in order to read well. To prevent poor posture, and peering all the time, it is possible to make or acquire a music Stand that comes out from the piano. [For further information see Chapter on Visual Aids.]

Chapter 3 Class Music

3.1. General Comments

J. Bailey

Sadly, it seems that a lot of children, particularly those in mainstream schools who suffer no handicaps whatsoever, are missing out on one large area of music. Whilst many schools encourage children to learn musical instruments and to play in ensembles, this precludes many children without means or aptitude, and above all neglects singing. Children are often going through school with no knowledge of our heritage of folk songs, unable to spontaneously burst into song, alone or when in an appropriate group situation, (e.g. on a coach trip, at a party etc.). Singing not only provides them with this knowledge, but gives the children valuable social skills (confidence, joining in group activities, spontaneous means of entertainment).

In addition the children learn how to listen in order to learn the songs initially and then to others who are singing with them. Those who enjoy singing can join together with those who cannot, in rhythm work. One year I devoted most of one term to listening and rhythm within a meaningful context (e.g. a knitting machine sounds remarkably like a cabazza clapping on knees can imitate the rhythm of a train, etc.). Children have been on "journeys" using different means of transport (different rhythm patterns), starting off together and on most occasions - arriving at their destinations at the same time.

They have been to supermarkets listening to the rhythm of the checkout tills, the trolleys and to the music relayed to shoppers. I have tried to teach the children how to listen, (a valuable skill for the visually handicapped) how to develop what they hear in music lessons and then to listen to music of famous composers to see how they have developed personal experiences in their music. The examples of this are too endless to give.

3.2. Class Music at St. Joseph’s

M. Smith

Others will have more to say than I here. St. Joseph’s is a primary school, with visually handicapped children from the adjoining school coming back for instrumental lessons, and for braille music where applicable.

We do not have class music as such, but there is a choir. Since it is the aim to involve as many as possible, every child who can sing at all is brought into the choir; the better ones carry along the weaker, and the latter often improve.

The carol service at Christmas involving children and staff, and one or two other events during the year are the high points. There is scope to listen to records and tapes during choir time. Hence it is the aim to listen in conjunction with the presentation of a very brief outline of history from1600 to the present. It is hoped that thus pupils will become at home with listening and history from a very Young age.

3.3. Class Music

J. Kinghorn

All children should participate in music-making. The basis should be singing, clapping and tapping. Many "growlers" can become good enthusiastic singers given patient help and encouragement, some may need individual coaching and time must be found for this, because a feeling of inferiority about singing in a young child can last a lifetime, and must be avoided if possible. Rarely have I encountered a child who couldn’t learn to sing a tune at least approximately. Some judicious use of percussion can be effective for accompanying but avoid mindless banging away. (Of course a certain amount of experimentation with sound may be a useful emotional outlet and have a real educational value. I believe it has, but it took me a long time to allow it in my classes, because I wished to protect myself from the noise.)

Aural perception is developed through listening to the subtle differences of pitch and duration of sounds even of the simplest instruments - how you shake or beat them and at what dynamic level; the tone quality texture and intonation of plucked and bowed instruments, etc., recorders, tuned percussion, and so on. Quite a musical "palette" is available even at the junior stage. At ages 8-11 children are able and willing to learn a great deal and can make amazing progress.

Time is very precious and there isn’t enough of it, so I think we should be receptive to new ideas but don’t be seduced by gimmicks. A tape recorder is a marvellous tool, but if the teacher hasn’t prepared the lesson or can’t find the place on the tape, it’s the most boring thing to be on the receiving end. As already stated, it is well worth remembering that this is the stage when the most important learning takes place, and it is a sobering thought that if vital attitudes and techniques are not established (or in the process of being established) at the junior stage, later may be too late.

A teacher of imagination will find what music is suitable at every stage, but I wouldn’t specify particular items as this will depend on circumstances: however, some knowledge of the songs and instruments of the locality in which the school is situated would seem to be as valid a study as local history, and musically more worthy than much that is in use. In any case, I would hope that what was chosen would be more than ephemeral.

Great advances in instrumental teaching have been made in schools in recent years and this is to be welcomed, but singing has been shockingly neglected.

It will have to be reinstated and properly taught as it is the basis of good music teaching. I do not mean to suggest that school teachers must be vocal specialists, but matters such as posture breathing, facial expression, clear unforced tone, pure vowels and good articulation, phrasing and all the points that add up to a good performance, should be attended to. The teacher should face the singing group and sing with them for practice anyway. In a primary school most teachers are women, so the children have a model at their own vocal pitch. Unless the teacher is a competent pianist, banging the piano, eyes glued to the book, sends the wrong messages to musical pupils - an irresistible invitation to misbehave.

The truth is that children are far more perceptive than perhaps we always realise, and frequently more "musical" than some of their teachers.

Melodic sight-reading in braille (or large print) should be introduced at about 8 years on average. How this should be done will be up to the teachers, Children who play the piano will need to know about intervals and other matters, but this is probably handled better at individual lessons. A useful book for this purpose is the one by Sinclair Logan, mentioned by Michael Campbell. Which notes and intervals one introduces first in melodic reading is a matter for discussion - whether you start with C then D, or C then G, or any other arrangement is not of great importance. In my view, however, one should start with crotchets.

Starting with quavers and adding dots is thoroughly unsound and could lead youngsters to great confusion needlessly. Of course the adult mind can work this out easily, and so can some children, but that is quite different from being taught like that. For one thing, it is merely a braille expedient. Some short period of listening to music is fine especially if there are suggestions about what to listen for. Live performances by the teacher or anyone else are more interesting to the pupils. They are so used to sound-producing equipment that much of it flows over them with little contact.

3.3.1 Pre-school, infant and junior.

Parents singing/playing to children; children singing themselves; dancing, clapping, simple percussion; listening. Infants: continuing as above but participating more with others; more singing games involving body movements. Juniors: more songs wider vocal range; a much greater range of music and movement is possible at this stage. Plenty of percussion work including tuned

percussion and recorders (perhaps some simple plucked and bowed

strings and any other instruments available).

Note: instruments such as glockenspiels and xylophones are obviously unsuitable for blind children. The beginnings of braille music notation, more structured listening, that is, noting how a piece is made - repeats sequences, imitation, which instruments are playing, and whether the piece is major minor, etc. Indeed young children are capable of, and interested in, musical analysis. Pupils’ individual and group composition has been an integral part of my teaching for many years, and exciting results can come from it.

It works best when the pupils have a good background in musicianship and some technique, and when the group has achieved its own inner discipline not imposed by the teacher. A group activity of this kind undertaken by an innocent young teacher without enough preparation can end up like a representation of chaos (not of the Haydn kind!) rather than an exercise in "creativity"

3.3.2. Seniors:

singing for the boys may be for a time impossible in some cases because of vocal unpredictability. Choirs or singing groups will be weak and restricted at the bottom, so songs in three-parts may be the solution if adult basses and tenors cannot be found among the staff or the oldest boys. Instrumental teaching in addition to the piano may have started in the junior school, and by now participation in bands and instrumental groups will be possible. The pupils may wish to form their own groups in addition to the teacher-based band or orchestra.

Occasional performances might be given involving all the musical resources of the school, including staff, and perhaps sometimes with friends from outside. Of course, I fully realise that the above is possible only in a comprehensive school. If blind pupils have to move from a primary school or unit to a distant senior school, there would need to be contact between the two so that a child’s educational continuity could be assured. In days gone by when my school sent pupils to Chorleywood or Worcester etc., I wrote to the music teachers concerned, giving minute details of What a child had achieved. This was very much appreciated by the schools concerned.

I chose to do this on my own initiative though it was not the policy of the school. Today surely there will have to be some means of standardisation in music education for blind children (it ought to be for all children) if there is not going to be disparity of provision. Moreover, the child moving from a unit to a comprehensive school must not get lost in the system and be hidden away out of sight. Perhaps a panel of musicians including expert blind musicians could lay down some guidelines to be attained throughout our schools. Music isn’t a frill or extra, but a very important subject to blind people in particular. Perhaps at some more enlightened time in the future music might regain its former high status on the school curriculum alongside science.

3.3.3. Further Education.

Today blind students are more readily accepted in universities and colleges than they used to be. The greatest boon to music students today is the tape recorder, and the broadcasting of "Radio 3". Getting material read and music brailled quickly enough seem to be the chief problems, along with the handling of sound-producing equipment, for the student. I would just add that blind students have to work that bit harder, and perhaps be rather more particular about their appearance and personal behaviour. They should take a positive attitude to their peers not always expecting services from others, but offering to help where they can.

3.3.4. General comments.

Listening - it is worth emphasising the point that listening periods should be short especially for young children. It may make life easier for the teacher to switch on the tape recorder (and the pupils love it of course!) but a child’s capacity to listen as distinct from merely hearing is limited. One way I did this was to play before or after morning assembly to the whole school sometimes a new piece every day, sometimes that same music for a week. Sometimes pupils or staff played; it only took five minutes, and after a time quite a lot of music was known to the staff as well as the pupils. Sometimes teachers related the music to other lessons in the classroom.

Pupils chose their favourite piece at their birthday, etc. Quite a lot has been said, notably by seeing teachers, about "listening skills" but it is difficult to assess what if anything has been achieved without feedback from the pupils. It is of course obvious that intelligent perceptive listening is essential if musicianship is to develop. What I wish to warn against is the futility of long listening sessions to records and tapes.

It is not the best use of time and resources. Moreover, some teachers may be unduly impressed by the ability of some blind children with regard to pitch discrimination, perfect pitch notwithstanding. I once had a blind lad who could pick out any note missed out of a scale crashed down simultaneously on the piano.

I was able to teach him very little, and felt very guilty about it. I am sorry to read that an experienced teacher tried to omit references to colour and sight when choosing music. No doubt the intention is good, but this is being hypersensitive - the normal world is of sight and colour, and we have to adapt to it. In any case, there can be very few people with no idea even of black and white. Finally, we need music teachers of the highest intellectual and musical calibre. People to whom music is not just a subject but a vocation, and who will fight for music’s place and importance within the education system.

3.4. The value of class music at all levels

J. Smith

3.4.1. Music with pre-school, infants and juniors. Music is very important for the blind infant. Without sight he/she will more readily pick up sounds - the voice of their mother, father and siblings, sounds all around - like bird song, traffic, radio and television and so on. Clapping and banging will be very pleasurable. Nursery rhymes and "copying" songs, songs to help body awareness, songs to go and touch something - like the door, the table, another person, will help the child learn a little mobility in a pleasant way, Singing games become possible - especially those that dance round in a circle.

As the child goes to school, listening to tapes and records will help him/her develop a good taste for music. Small children are fascinated by the sound of any instrument, and will want to try it.

For a totally blind child, feeling the instrument should go alongside the hearing of its sound, if at all possible. Clapping games and the use of percussion instruments tuned and untuned and singing simple songs and choruses should be the regular music lesson of a blind child. A little every day is better than a long lesson once a week. Mood music can be introduced and music and movement lessons: music for skipping, running, jumping and stepping of rhythms. This is very beneficial for a visually handicapped child and helps discover the body and space. It is easier for the teacher if the school’s radio programme is used (or if an accompanist can assist) so that the teacher is free to help the children with spatial difficulties. For juniors the songs may progress to singing rounds, and then possibly easy descants. Some of the children, especially the totally blind, may have perfect pitch which is a great help when singing or playing. (The incidence of perfect pitch is very common amongst blind people).

Doing a "topic" that can be also done in the classroom in other subjects can be a useful idea. A junior choir is an asset to the school and good experience for the child. Some may start having piano lessons or guitar lessons or recorder lessons - small groups can be accommodated for these. It may be possible to have stories of great composers, and hear some of their easier music - Mozart and Handel, for example. Records of "story music" are very popular such as "Peter and the Wolf", "William Tell" and so on, as well as stories from ballet along with the music, Braille music or large ordinary notation can be introduced to top juniors. Braille music should not be introduced until the child knows the "ordinary code". In any case, some theory should be taught aurally - such as note lengths, beating time solfa, intervals, major and minor chords. (For the teaching of braille see the section on piano teaching).

Keys C, G, F can be taught to bright children and the reading of "themes" and "sight" reading in braille can be done. Use Kinghorn Books 1-4. Good foundations are laid in the primary school (preferably before the child is only interested in pop music!). Listening and performing have been covered above, composing too can be great fun, and maybe younger children are less inhibited than older ones. They could easily make up rhythms and little pieces on chime bars, recorders, electric keyboards etc. and the results tape-recorded. The excitement and pleasure in making music of a small blind child, is an awesome thing, to be nurtured carefully to maturity as a tender plant.

3.4.2. Senior pupils.

A few years ago I thought I had a syllabus that I would always work with, and then along came the age of pop, guitars, synthesizers, computers, and the GCSE. Many modern children at home have been reared on a diet of pop music at the touch of a button at all hours of the day and night. This has changed the picture of the average child (mostly amenable listening quite happily to the great composers) into a thing of the past.

The modern child is more lively and aggressive and not prepared to take large doses of classical music passively. A great deal has been written and spoken about this subject, so my question must be, how does it all affect the teaching of the visually handicapped child in class music? As syllabi are somewhat in the melting pot, I will say that, as far as possible, the syllabus must be the same as in mainstream schools. I think that blind pupils can listen at a more advanced level, and often enjoy classical music to some degree, especially if taught to listen to it when young, and will enjoy hearing about the great masters. A theme of one of these works can be put into braille and the pupils sing or play it.

A blind pupil in a mainstream school will be able to fit into a class music

lesson better than in some other subjects, as the child will naturally (with some help) - develop hearing and aural sensitivity and, without sight, will be able to listen to music at a deeper level than a more easily distracted sighted child. Many children born blind have perfect pitch. (On the other hand, the blind child can more easily drift off into a dream world. This must be guarded against.) Some lessons benefit from a bit of forethought, such as producing an instrument to be felt when the sound is introduced.

Some straightforward theory lessons are possible even to the dullest as an aural experience. A certain amount of written work is possible in class, and for the keener musician a "theory club" with pupils of different ages has worked well. A blind child can easily play any of the percussion instruments now used in class, and learn a part by note, if not too difficult. They learn to find the position of the drums in the drum set, for example. It is not easy to play a flat instrument like the glockenspiel without sight, but chime bars are easier, and hand chimes or handbells are also very easily learned.

Electric Keyboards can be played, especially if the pupils are pianists already, so that they do not need much tuition when playing the keyboard in class-time. Folk guitar groups have been successful in class, and as a club. Although some are nervous, many blind pupils enjoy performing and do not mind playing or singing even a solo, on occasion.

I presume this must be that they are often musically confident, and are not put off performing as they cannot see the audience. In the school where I teach we have an internal concert every term and a public concert in the summer. Many take to learning recorders, woodwind, brass instruments and classical guitar. It is possible to learn an orchestral string instrument although the bowing arm may need careful and patient practice.

A possible method to help this is to put left thumb and first finger spanning the space between finger-board and the bridge and then bow with the other arm between the 2 fingers trying to keep straight. Another way is to have a guard-stick on a clamp to bow against. In composing most blind children will not have much difficulty.

The greatest problem will be "writing it down" In GCSE candidates are allowed to send in their compositions on a tape, so I think this is probably the best thing to do unless the candidate has access to a synthesizer attached to a computer and a printer. With this aid, it is possible to produce, instantly, a printed copy of the piece performed.

It is necessary in GCSE for the candidate to sight sing, and to write music in the listening paper. Unless enlarged notation can be used, or an amanuensis employed, braille music must be learned.

I think it should be possible for a mainstream GCSE blind candidate to learn to read and write a rhythm or a simple melody in braille music. I have used the Kinghorn "From the Beginning" books 1-7 in class, and "Sing at sight", by William Appleby. I have made my own large print and braille copies, so that sighted, poor-sighted, and braille users can all use the same book, and sing together. Rhythms and tunes can be dictated in braille, but the system must be taught thoroughly from the first through to the 5th year, to make the necessary progress. One or two years is not enough.

With no blackboard, I have found the Hoare magnetic notator (board and magnetic musical symbols) very useful for those with a little sight or for blind children who want to know about print music. These boards are obtainable from RNIB. In GCSE the only question that a blind candidate cannot really be expected to do is to draw a "graph" of the music played. This problem has been solved by at least one examining board (Southern), who will set a different question for the blind candidate. Sometimes music is considered to be an unnecessary "frill" subject in secondary schools, but at present the subject seems to be gaining ground again, and pupils are being given the chance to learn music in class, and are offered extra-curricular musical clubs and instrumental lessons.

All this can be extremely rewarding to a blind child, aesthetically, spiritually and socially. To sing in a choir is good not only for the school, for carol services and speech days, but gives, especially to the blind pupil, a wonderful sense of team work! (Not available to them on the sports field.) It is physically good for them to breathe more deeply, and to rise in thought to the wonder and beauty of the music.

To play in a musical club, pop band handbell team is equally enriching. I choose songs carefully to try and omit references to colour and sight. However, the children need to know about such things, so occasionally, it does no harm. For assemblies we use "Come and Praise", a BBC publication which is in braille (from RNIB) and large print version available from the Torch Trust. We use the RNIB carol book and also have our own collection of hymns. Song parts can be learned by rote, or in large print, or in braille.

The choir can have braille word copies, or, if they are good braille readers, have a melody line as well. Blind children can often sing in harmony, and will easily remember the parts. They do not have a conductor, but they do need to be "counted in", to have the speed of the beat tapped, or best, an introduction to the song to be played. It is however, quite possible to have unaccompanied singing, and the group learn to listen to each other, and sing together in perfect pitch and time. To take a choir of blind children out singing in the locality, or entering a local festival, is most rewarding. They are keen to do well. Some children with learning difficulties are very good singers, and I have usually given these pupils a tape, with words, and tune, to take away and learn.

Sometimes I have used a simplified form of braille for the handbell club. I put a "P" for play and a "dash" for a rest. If they swop bells, they can easily read a different part. Recorder players usually have the proper music in braille or large print unless they are beginners, in which case they learn by rote. This also applies to woodwind pupils and brass players.

The children have enjoyed having music and movement, which is among other things, a pleasant way to feel and direct all parts of the body, and learn posture and graceful movement. It is not possible to play the music and direct the blind children at the same time, so tape or radio is very useful. It can also be enjoyable to take part in an annual production of a musical play. Although learning the parts and songs is fairly easy, learning and remembering directions on stage takes more practice but is most worthwhile.

In drama, the child can learn "to be" someone else, and find out all kinds of things as to how people behave and what they do and wear -all in a very pleasant form of learning. Many of the productions have been of a high standard. Some children have been drafted into the band, which accompanies the singing, and in this way everyone takes part. When our pupils were mostly boarders all through the term some very much enjoyed being taken to the concerts arranged for children in London on Saturday mornings.

I think a blind person particularly enjoys the experience not only of going to a concert, but hearing real live sound, which is so different from records or tapes. Former blind pupils say that a hobby they enjoy is singing in a choir or playing in a local group. This can only be good, and thus blind children can grow up to give pleasure in this way to others as well as themselves.

3.5. Class music for senior pupils - examinations

M. Campbell

Harmony. In the long-ago days when I was studying harmony vertical score was much in use. I think it served its purpose well, and was an excellent system for the reading and writing of work of the hymn-tune type. With the essential basis of harmony being the bass line, the naming of chords, etc., this all seemed to make sense, and for much of my time as a student I wrote my work in vertical score (everything from the bass upwards). Nowadays, vertical score is seldom used, and the coming of the upward braille writer has enabled students to produce their work line-over-line. This can help in thinking one’s individual parts horizontally, as well as appreciating their vertical aspect.

Care needs to be taken that the alignment makes the musical intention clear both to the student who is writing it and to those who may wish to read their work from its braille version. In both GCSE and A level examinations there now seems to be an increasing preoccupation with offering "skeleton" scores for study. These can be something of a nightmare for even a pretty fluent Braillist.

Few hard-and-fast rules can be given for dealing with such scores. Two things necessary to such a situation are adequate time, and a cool approach. First, all instructions must be carefully read, so that students may discover exactly what is expected of them. They should find out the worst. Ears should be used for finding out as much information as possible. There are instances where a score needs a special Braille "presentation".

For instance, there is an A level question in the Inter-Board aural tests, where students are expected to discriminate between what they read and what is played. If this has to be attempted from a three-line score, with a couple of page-turns, the student is inclined to give up the unequal struggle. If, however, each melodic strand is presented separately, the chances are that the material for each will fit comfortably on a page, and the different strands can be concentrated-upon singly with each repetition of the test. Other unexpected features of examination papers have included blank bars, that is to say, bars where there is nothing, as distinct from bars where there are rests, and also bars where notes are shown, but without any time-values.

Altogether, the actual coping with examination papers from braille is something which needs to be worked on with visually impaired candidates, and it is fortunate that RNIB now has a reasonable library of past examination papers.

3.5.1. Support in Open Education: J. Smith

As many blind children are now going into open education i.e. local schools, I am concerned that those needing braille music may not have access to it. The schools may not know that the code exists. A blind child should be able to partake of all school class music lessons, and even learn an instrument at school or home remembering the pieces or using a tape recording to aid the memory. Tapes can be very useful but are not the complete answer to a discerning musician. To have the actual notes is as important to a blind child as to a sighted child, therefore there must be access to learning braille music. This could be done in one of several ways:

1. The teacher or parent could send to the RNIB for a braille music tutor ("Watson" or "Partridge" books) and learn it themselves.

2. Try to find a local blind musician who can read and help teach braille music.

3. Consult with the nearest special school for blind children where there should be a teacher familiar with braille music.

4. Contact the Music Education Advisor at RNIB, who might be able to suggest someone able and willing to help. A blind student in Further Education, College or University will probably need help with braille music and other matters and the RNIB Advisor can help.

Music courses and piano tuning courses are available at the Royal National College for the Blind, Hereford. Such courses could be "A" level and courses leading to an instrumental Diploma: also I believe braille music courses for students from abroad.

Chapter 4 - INSTRUMENTAL TEACHING

4.1. Bowed String Playing

D. Kingshill

This would appear to be a somewhat neglected area, especially where it concerns the cello. I now have two cello students, one of whom has recently passed grade 3 of the Associated Board. His bowing for someone of his standard leaves nothing to be desired, as the line of his bow is a great deal better than that of many sighted students and one or two professionals I have known. This is due in no small part to the patience of the teacher he had before me, but also to his innate feeling for shape and line and direction. Patience on the part of both student and teacher is an essential ingredient of all successful string-playing, so it would seem to me that blind people do not form an exception in this respect. The main obstacle to string-playing in this regard would appear to be, must, in fact be the age-old ogre - sight-reading.

At present, in order to achieve much satisfaction from the cello apart from as a solo instrument (and not many people, sighted or not, get very far in that direction), one has to join some sort of ensemble, and that nearly always involves the necessity of sight-reading, because of the tradition to which, unlike, say trumpet, clarinet or keyboard, the bowed instrument is wedded. You can of course play jazz or folk-styles on the violin, less readily on the cello but this sort of playing forms the exception to the standard repertoire, which is based on the central European classical style. It seems to me that what needs to be done is to mount a two-pronged attack on this situation. On the one hand more should be done to integrate the cello into an increased variety of styles both ancient and modern, within the educational system, so that, say, a school folk band should include cellos as well as guitars.

They form good harmony lines, less good bass ones, but still useful. Improvised styles should be taught on the cello, which is done remarkably little, when compared with the organ or piano. On the other hand - and I find this even more interesting - the monopoly of the written note when it comes to European classical styles should be broken. Beethoven can be "busked" just the same as Ellington. Concerto-style solos can be improvised as any organist knows. At present, though, there are not many musical groups that are prepared to accommodate such experiment. It is up to education, amongst other factors, to encourage change in this situation.

4.2. Clarinet Teaching

T. Donaldson

I have been teaching a small number of blind and partially sighted pupils the clarinet and saxophone for four years now. I taught at Dorton House School for blind and partially sighted pupils, many of whom also have other disabilities. I no longer teach there, but I still have one totally blind clarinet pupil. I thought it might be helpful if I made a few observations on the approach i have developed in teaching these children, comparing it with how I teach sighted pupils.

The significant difference in my approach is that I have placed more emphasis on teaching pupils to use their ears, which in many ways seems to me to be a more musical approach. Written music can be a barrier, which almost distances the pupil from the music: the written music is interpreted and only then is it played. Often with sighted pupils sight-reading and interpreting the written pages is given a great deal of attention, but the ear is left largely undeveloped. This is a great loss, as the pupil or musician is left floundering when they have no written music: they cannot play by ear, only from memory.

In my lessons I try to develop these listening skills and I have found this most satisfying. To me, it seems much more in the spirit of music to say to a pupil "listen", what time is this piece in rather than to say "look", what time is this piece in! Blind pupils often find this question easy to answer and long explanations are largely unnecessary: after all, they listen and hear. As well as establishing a sense of time, I try to develop a strong key sense.

The pupil plays well-known tunes by ear, in a key, which I suggest. At first I tell them the starting note, but gradually the pupils work this out for themselves, if necessary by singing the tune through to establish the key note and then working out the starting note. At first I use tunes which start on the tonic, such as

"Morning has broken" and then we go on to pieces, which start on the dominant -

"London’s Burning" followed by tunes which start on other notes such as "Three Blind Mice".

At a later date I ask the pupils to play tunes in different keys. When I am introducing a new scale I ask them to play one of the by now familiar tunes in that key. They soon realise why the key is important and understand the relevance of scales whereas it can take sighted pupils years to understand this and some, I suspect, never do.

From here it is not difficult to start the pupils using scales and arpeggios to make up their own tunes. Playing a game with me playing a two bar phrase and the pupil answering is fun and a good start to improvising- again having firmly, established the key. Another useful game is to use two scales. I specify the chord, play them on the piano as they play, and they have to listen for when I change chord, and then follow.

The teaching of chord sequences, such as the blues, follows on from this quite naturally. I try to base my teaching on using the ears, trying to avoid teaching by rote, though this has to be done with unfamiliar pieces, especially with music for examinations.

Even with this I ask them to work out which notes sound better tongued rather than dictating what is specified in the music. Lessons spent with me saying "tongue this note" all through the piece can be very boring. Consequently I try and use familiar tunes to develop a pupil’s technique and teach them how to play the instrument. Finding suitable pieces for each stage of learning has taken a good deal of time. I have used material from various sources, such as tutors like Take up the clarinet by Graham Lyons and A Tune a Day for Clarinet. Among other books, I include Alan Fraser’s Below the Break, recorder books and even my son’s Abracadabra viola book.

Recorder books are often particularly good for slow pupils who need lots of simple tunes using only a few notes. I try to ensure that the pupils like the pieces I give them so I use plenty of popular songs and songs from current shows which they have often seen. Sometimes they suggest a song which they like and I try to find an arrangement, i tend to give them fewer pieces for each technical stage than I would give sighted pupils if possible as this enables them to progress quickly. I find that they can learn the instrument as quickly as sighted pupils.

I have not learnt braille music, though I did, at one time intend to. Pupils who are able to learn braille music are taught this by another teacher, so I have avoided this task and I concentrate on teaching the instrument in my lessons. Some of the pieces have been put into braille by another teacher, and now at Dorton House there are two braille books of easy clarinet tunes collected from the sheets already put into braille, which I did use, though I notice that the pupils prefer learning music from tapes. The blind pupil whom I teach at the moment brings a small tape recorder to her lessons, with the tape in it all ready to record.

I use it instead of a notebook, telling her what to work on over the coming week and I record any unfamiliar tunes for her. She finds this helpful, as she does not have to remember which scales and pieces to do. This is not so easy to accomplish in a school as tape recorders are mysteriously moved out of teaching rooms broken, or have no batteries or lead and plug. I once recorded all the pupils’ pieces on a single tape but this did not work as each child had to spend too long finding his/her pieces. Individual tapes recorded in the lesson are best, if possible and pupils take care of their own tapes.

I have found that my pupils at Dorton House have a very good knowledge of music. Many learn another instrument and they benefit from good class music teaching. As a result I have been able to concentrate on teaching the instrument and this has been most helpful. On the whole, I use written music with partially sighted children.

Although I taught one who enjoyed playing by ear (though she was reluctant to learn the names of notes!) another resisted like many sighted pupils and preferred written music. I wrote out some very large versions of the tunes I use and they learn to play these. Teaching in this way takes time because, like sighted pupils, they have to be taught to read it. Perhaps I should mention some mistakes I have made. I had one partially sighted boy who insisted that he could read the music and I took rather too long in discovering that he could not.

After that I made a habit of asking pupils to name the notes and I became aware that I must watch out for deteriorating eye-sight. This is obvious really, but I did not realise this at first. I also learnt to expect a great range of ability. I met children with learning difficulties, who needed a great variety of simple pieces, I had one pupil who had an excellent sense of pitch and who instantly corrected me if I said a pieces was in for example, G major: "that’s not G, Miss, that’s F" -at least he was not baffled by transposing instruments!

Although he was limited academically he had a staggering memory for music and could play back long phrases to me and still remember them the following week - how he delighted in surprising me! I soon became aware that some of my pupils had problems and disabilities other than with their sight.

One became anxious very quickly and I had to keep very calm and work slowly trying not to let her become worried. Yet surprisingly, she enjoyed playing in concerts and always played well. Finally I would like to make a plea, which I am sure is unnecessary here, but which seems not to be acted on in many schools. For some pupils, learning a musical instrument is very important and this is particularly true with blind children. It is something that they may do well and can have for the rest of their lives. This was shown to me by one boy whose memory had been damaged when he lost his sight. One thing he could do was play the clarinet (and make jokes). On a holiday in Spain he played to a very large audience who loved his playing because he played beautifully. How pleased he was!

4.3. Brass instrument teaching

S. Hayward

The first problems encountered when giving a blind child his or her first lesson on any brass instrument are the practicalities of getting the instrument in and out of the case and ready to be used. Assistance will be required to ensure the correct positioning of the instrument as no photograph can be copied.

Similarly, no visual aid will be useful for the correct embouchure formation - the brass teacher will find their powers of concise, clear description tested to make sure the pupil is not stretching their lips distending cheeks or applying undue pressure with the instrument - the usual pitfalls to be avoided with any beginner brass-player.

I believe it is doubly important with a blind pupil that the forming of a sensible technical groundwork occurs during lessons, as bad habits develop particularly when the pupil cannot rely upon a mirror for visual reminders. It is worth suggesting that a pupil tries to remember the "feel" of the mouthpiece against the lips - and similarly the "feel" of the instrument in his/her hands - to ensure prolonged correct positioning.

Once these initial points have been established valved brass instruments in particular lead to few co-ordination problems for the visually handicapped as both hands remain firmly attached to the instrument - very little physical memory is needed. A second good point concerning brass playing for any young child is that an attractive sound is attained relatively quickly and this is so important to one whose hearing is his/her chief sense.

Compared with valved brass instruments, the trombone requires a somewhat more advanced muscular memory, the movement of the right arm also necessitating an accuracy, which will be aided by good aural awareness of when the slide requires adjustment. The learning of aural skills and physical co-ordination that a brass instrument requires are, needless to say, of great benefit to a visually handicapped child as well as being great fun. The "physical" nature of brass instruments also encourages good breathing as well as social interaction in groups - but does mean that practice is required to progress beyond the elementary stage.

Disciplined practice is always determined by factors beyond any teacher’s control and at a blind school the position is made harder by the amazing number of other activities available, as well as essential training and preparation for the "outside world" that a visually handicapped child requires. The need to be mobile as well as literate and numerate must obviously override such comparative luxuries as brass tuition. School outings and other extra- curricular activities assume a new importance where mobility and self-confident independence are the highest priorities.

However, with some guidance and minimal practice-time, playing a brass instrument can be a major asset to a visually handicapped person - perhaps especially to one who has another handicap, whether it be limited mobility or, for example, some learning difficulties. Where a quicker child may be drawn by rapid results on one of the many keyboards and synthesizers available today (and which also have much to offer the visually handicapped) other individuals may be drawn to the more physical, "steadier" approach of playing a brass instrument, finding considerable enjoyment with some success.

The importance of gauging each pupil’s needs and abilities is particularly important when any handicap has to be taken into consideration and some time may be needed to find each individual’s pace.

With the partially sighted, written aids may be useful and the teacher may find it necessary to use large written letters, i.e. A B C, for convenience of notations as I have found this easier to read by those with limited eyesight, for example the use of one eye only. It must be added that this is a poor substitute for conventional musical notation, and braille music for those without eyesight, but does fill the needs of a beginner brass-player with a limited range of notes playing simple tunes.

Long notes can be shown with lines proportional to their length and quaver-runs may be bracketed. The brass teacher beginning to take on completely blind pupils need not be daunted by the prospect. I am constantly amazed at the aural abilities Of these pupils and equally impressed with their capacity to remember tunes and eventually larger-scale pieces. Any pupil’s progress is a gradual one, sighted or blind, and his or her capacity to memorise improves in tandem.

Without visual aid, blind pupils seem more able to commit to memory the first few exercises and simple tunes, but as they improve I have found that the use of cassettes provide a useful memory aid to ensure complete accuracy upon repetition. Surprisingly, memory rarely poses any major problems for young musicians with a visual handicap - and has more than once shown up inadequacies in a sighted brass-teacher’s ability to play from memory. Blind musicians seem sometimes to be unhampered by the need to cling to visual points of reference and Show inspiration to sighted players and teachers, their experience of music being completely aural.

Chapter 5 - Music for children with additional disabilities

5.1. Using Keyboard and other instruments to draw out musicianship in Children with Additional Disabilities

D. Kingshill

My work at Dorton House School began a few years ago and has up till now been largely dependent on aural communication, as I am not a braille reader.

I have at times attempted to master a little braille music and still wonder whether I should not seriously apply myself to this, but on the whole, when I consider that as a sighted person I was never very good myself at reading notes or words, and really only find written music to be of secondary importance in my musical life, I like to think that I am justified in concentrating on methods of music-making other than one to which the ability to read is central, although I do feel very strongly that students who wish to read should be helped to do so by every available method.

Such a wish is probably not at the forefront of most of my students’ minds, as most of them resemble myself in not being apparently very academic. Again, even with them I feel that the possibility of unexpectedly discovering academic aptitude should never be ruled out, but in a world in which time is short I hope that this does not make me the less justified in leaving the academic approach to others.

I also feel that, as a musician, I ought to be able to manage my job running, as it were, like a plane on one engine, as it would be a form of arrogance to assume I could ever be in control of the whole spectrum of music. It keeps me on my mettle to have my own disability, that of not reading braille, though this should never be seen as a reason for not learning, merely a reason for not giving up for want of learning. I have a number of students who come to me individually for twenty-minute sessions and my brief is to teach them keyboard skills, or those of another instrument of their choice provided I am competent to teach that instrument.

One of these students I consider to be extremely advanced for her age, which is seven. She can play, as far as her technique will allow pieces set for the Associated Board Grades three and four, such as a certain Tarantelle and a piece by Schumann with all the chords correctly spaced, including complex chords such as sevenths, ninths, diminished and augmented chords. These she learns by listening to me and other people.

Her ability physically to play the notes is limited and causes some frustration, as what I give her to develop this skill is necessarily a lot simpler than what her mind is used to encompassing.

We have arrived at a reasonably satisfactory method which is that I devote a short time to physical technique, then she plays me something of her choice, then a bit rnore technique, then I play something, then I might ask her to play a simple tune with her own harmonisation demanding correct fingering, thus merging hers and my interests. This all needs more than twenty minutes, so it is good that she happens to get forty. Progress is being made, but l feel that she is soon going to need musical literacy, which will mean braille.

Meanwhile, her lessons are less a time of teaching than a time of sharing. Like any two or more musicians, we learn from each other, broadening our horizons, an experience which I feel to be central to the musical process. None of my other students are perhaps as strikingly talented as the one I have described, although one comes quite near. He is older (ten) and his frustration more pronounced. I am trying to build his technique using a similar type of compromise.

He chooses the tune, I try to reduce the harmony to something he can manage, and insist he plays safe and keeps it simple rather than thrashing about damaging both his finger muscles and his considerable powers of aural perception. We are making progress.

My other students at present are less obviously brilliant, but they have marvellous moments which, although not qualifying them for musical achievement in a traditional sense, are something a musician can and should treasure. One has an exquisitely true singing voice, and her playing, though very limited, is beautifully sensitive measured and accurate. Her friend shares none of these qualities apart from general limitation, except in so far as a painstaking commitment to get her fingers in the right place, but recently announced she would play a piece of her own composition, called the Hare and the Badger.

This turned out to be an improvised piece, using the hand position she always has done and playing no more than one note at a time, another inevitable feature of her playing hitherto, from which, however, two aspects of the piece represent a radical departure. One is its rhapsodic improvised nature without a regular number of beats in a bar (although her playing has never been remarkable for adherence to a given metre).

The other new feature is that she was singing all the time, one syllable to a note, words of her own invention, and perfectly in tune, though at a rather low pitch, and managing to hit the same note with her voice as the note she was playing, virtually simultaneously.

She had not shown herself, in my presence, capable of singing in tune, or only intermittently, on previous occasions, I have known children do this kind of thing quite often, but usually in a manner quite independent of the more formal side of their tuition. This incident is remarkable in that it represents a fusion of the student’s creative impulse with the finger position I had taught her so laboriously and she had learnt so painstakingly, and in its unexpectedness.

I am also fascinated with the way this and other instances of children’s narrative- music call to mind aspects of musical traditions remote both in time and place, such as plainchant, the mediaeval church plays the recitative style of early opera and the sung narrative of certain Indian dramatic traditions.

There would appear to be an abiding truth in music, existing at a basic level, co-existing with, but almost irrelevant to, the miracles of talent and skill that dazzle us when we consider certain musicians of the past and the present. It is this truth that occupies my mind greatly.

Music maybe contains or represents a power that can be released just by making one sound. A baby cries, a rubber band twangs, thunder rumbles someone makes an excruciating sound on the violin. The power is released. All we have to do is harness it with our ears, and this is something I am more and more convinced any of my students ought to be able to do, to enormous effect both for themselves and maybe others.

Of the four other students I see individually at present three will certainly never make brilliant musicians in the accepted sense, but all have very personal and sometimes beautiful contributions to make to music. One will, if all goes well, be able to accompany competently anyone who wants to sing a song from a musical.

Another will overcome considerable difficulty in manoeuvring his fingers to operate the chord buttons on a keyboard to find appropriate harmonisations for tunes he wishes to play with the right hand. His left hand is also slowly gaining fluency through attempting satisfying patterns. He has also managed to make a lot of sense on double bass, electric bass and acoustic six-string guitar, demonstrating his considerable musicianship in spite of verbal and cognitive difficulties.

The third of these students has elected to study cello with me, and he is progressing, albeit very slowly, along the lines of a traditional cello student, gaining some satisfaction from it. But -and here I reach for the stars, I know - satisfaction is not enough.

Music is about more than that, It is about ecstasy. I realise I am on very dicey ground here, can one aim to catch the essence of music? Is it not mere foolhardiness to go about it in any other way than the hugely oblique one of studying technique?

Is this essence not the Grace of God and therefore unobtainable by human endeavour? Yes I believe so, but l paradoxically believe that one should never give up the forlorn struggle. Everyone must find their way of struggling, and mine maybe emerges most strongly as follows.

Early on in my teaching at Dorton I felt that my particular students could not make music in a vacuum. Thanks to my past and present head of department I was allowed to begin and to continue to experiment with ways of filling that vacuum, as a result of which we have at Dorton a band with a difference, dedicated to play as many different types of music as possible.

Many would agree that music is to a large extent a social activity involving sharing something with other people either because we want them to comment on the sound we are making or because they help us to make it. One aspect of these other people, however, has been brought into sharp relief in my mind by experiences such as this band. It is that as a musician you cannot make do with playing the right notes, you have to know why they are right. In a group like an orchestra or a traditional jazz band you soon get to know why notes are right or wrong. In a group of students such as mine the distinctions are more hazy.

To me it is evident that they are sometimes playing very beautiful things.

I am conversant with many traditions such as those I mentioned earlier, that enable me to see the depths beneath and behind what my students do. In my mind I can make the time - and place - leap to see that what they are playing would fit perfectly into the rhythmic pattern of a Macedonian snake- dance or the atmospheric schemes of Schoenberg’s free atonal period.

They are hardly aware of such traditions, and measure their achievement beside what they hear on Radio 1 or at the Festival Hall. Their chime-bars in a school classroom don’t stand a chance. I therefore have to reconstruct for, and with, them a sense of tradition, of propriety, of the importance of finding the right time and place for the sounds they make.

The band my students and I set out, with absurd but I think necessary ambitiousness, to form was to be a microcosm of the entire experience of music throughout the world both during the present and at any stage of the past. Only in a laboratory thus equipped could we begin to analyse sensibly the melting pot of disconnected tunes and sounds a group of musicians of such varied experience as my students would produce.

So, with most of the students who came to me for’ individual lessons, and some others we got together for an hour after school and departed into the unknown. Of course it never, or only very intermittently, has worked in quite the way I envisaged. Our sessions have frequently been disastrous and ended in despair. Students find it very difficult to know what I am getting at, when all they hear is a shambolic noise, exciting, because it is what is not normally allowed and is shambolic, but not to be taken seriously, not music.

And, indeed, does it matter what you call it or how funny it is? Yes, because in music there must be a degree of illusion, and continuous laughter makes that impossible, together with lack of shape or definition such as even the title "music" can bestow.

Sometimes, however I really feel we have achieved something. The piece that forms the heart of our endeavour is as follows. Everyone chooses an instrument, not necessarily one they feel particularly confident about being able to play. A common orchestration is: trombone, keyboard, tenor horn, guitar, piano, cello accordion, smaller percussion.

I ask for silence and sometimes get it. I instruct people: "When I say go, experiment with your instruments in such a way as not to cause any of them or any person in the room any damage. Don’t use your voice at all." At first, everyone really let rip, which meant that loud instruments were deafening and utterly drowned others. Now I hope that the power that I feel unleashed is beginning to affect other people, and real music seems to take place sometimes.

The piece (or a "movement" of it) normally comes to an end with me singing "stop!" and we might repeat it or take solos or duets, which we sometimes imagine to be what we have brought back from a far-away country we have just mysteriously visited. The idea we are here leading towards is the significance of the sound we are making. We have begun to explore the notion that sound can mean something.

Sometimes we have got as far as constructing a scene, perhaps under water or in space, with a shark, a battalion of soldiers, a rider on a horse, and the boyfriend of one of the players as protagonists. These are all examples of the type of imagery that is necessary to give structure and shape to music that would otherwise seem formless.

So often in music of all ages: some sort of story is never very far away. Monteverdi said "the words should be the mistress of the music". Wagner insisted on the music-drama as the most satisfactory vessel for music. Here we are, re-affirming this importance, and reinforcing my conviction that music on its own has limited stamina, be it simple or sophisticated. In the type of music I have described, there are certain notions it is very hard to get past, such as the trombone inevitably being someone in the trenches playing the Last Post.

Nothing Wrong with that, but one wants to get further, it is also a slow process to get across how vital it is for exploration in sound to take place against a background of silence when most of my students are not expert scientists who know that to be valid, a biological experiment must take place in sterile conditions.

Our piece of sonic exploration should begin and end in total silence. Week after week we struggle to achieve this simple-seeming goal, and again I think we are slowly getting better. One day we will all really appreciate how beautiful it is when everyone stops playing, how important is that final absence of sound. Till then, we continue to play quite a lot that is more demanding of traditional technique, less of mental discipline. People play and sing songs they know, either in solos or in ensemble. Rivers of Babylon is an example of a song in which we have tried to achieve as much accuracy as possible, in contrast to the freedom of our experimental style.

Our trombonist plays Nellie the Elephant, and one vocalist sings "Ob La Di". We have also done Mediaeval and Eastern songs as well as a few symphonies, most of our own concoction. The variety of styles is bewildering. Quite often, many of us think we must be crazy.

At the same time, the excitement of contrast is what keeps us going, as this musical melting pot provides something for everyone, enabling, for example, one of us with no previous knowledge of brass instruments to discover a flair for them amid the safety of aural chaos and to put it to more accurate use in a more traditional number. When chaos seems excessively in control I comfort myself with the thought that if this were not so something would be wrong, as we are a developing band. We have not reached our goal.

I like to think that our goal will be a seamless synthesis of the stable and unstable, the experimental and the traditional, the virtuosic and the simple, the most dense harmony and counterpoint and The Hare and the Badger, the loudest sound and the deepest silence, the active hand and the active ear, the player and the listener, the performer and the audience. A long shot, but I think we are aiming right, and as we proceed with great labour I am sure we will gain a fuller consciousness of the possibilities of sound and create at least one or two landmarks in the treacherous but infinitely fertile country we call music.

Chapter 6 The social and aesthetic values of music

6.1. Music in a child’s development

E. Stagg

Music is concerned with many aspects of developing a child’s personality as well as contributing to the all round physical emotional, intellectual, perceptual, social and spiritual development of the pupils. The value of music in a child’s development is many sided; it offers enjoyment and recreation intellectual and emotional satisfaction, training in perception and physical co-ordination, opportunities for individual and group activity and scope for creative expression.

For visually handicapped children who rely very much on what they hear, music is an important subject and can also be an obvious contact with an art Subject. Therefore the first main aim of music teaching must be that of enjoyment, through which pupils find pleasure and gain satisfaction by being involved in active musical experience. This includes achievement of technical skills and learning to listen instead of merely hearing. Secondly, music is a subject, which can enable children to express themselves in an art form.

This means pupils are able to experience different moods and emotions through creative work. Also many visually handicapped pupils will respond more readily to this subject, as a means of expression through work in music therapy.

Music is a subject, which can give pupils a possible hobby or interest, which can be enjoyed and continued after leaving school. This can take many forms, such as outings to concerts and festivals; joining in music activities like choir or music clubs; or gaining enjoyment and satisfaction from playing an instrument.

6.2. Music as communication

A. Beaizley

For a long time, music has been an activity in which visually impaired people have been involved, both in the area of vocation and of leisure. There may appear to be, and indeed is an obvious reason for this involvement: at a fundamental level music is concerned with sound, and the sense of hearing plays a significant part, in the absence, to any degree, of the visual sense.

Music has enormous potential in the life of any human being whether visually impaired or not. It is a language, a very powerful language, and the function of any language is that of communication. However, for those with visual impairment, this raises both social and aesthetic implications. The role played by sight in the early years is enormous.

A great deal of what is learned about the world, other people and oneself is acquired through the medium of vision. It is easy, and quite usual, to take this for granted, and to forget that those with any degree of visual deficiency may have quite a different picture of their environment and of themselves. From earliest times, people have inherited a tribal instinct, and most find both fulfilment and also personal identity through some degree of association with others.

Grouping may, take place for many reasons but, in all cases, the visual sense is important in the way in which people relate to each other. - Clearly the visually impaired person is at a disadvantage in this respect, especially if they are not particularly outgoing. Communication is a significant aspect of the process of making social contacts, and music can make a vital contribution to this process.

At school or at college, in the formative years, it is particularly important to build one’s identity and sense of personal awareness, and much of this experience is gained by associating with a peer group. Spending time with others helps one to get to know oneself. Without that easy visual contact, the visually impaired child can so easily miss out on much of this activity, and music can be a means of helping to make good this deficiency, by way of helping to meet with, and relate to, others. Although the serious musician of any age will need to spend much of their practice time alone, nevertheless there will be many, occasions when music can be a shared interest.

Serious practice by an instrumental group or a choir, involves a discipline, which in itself aids personal development. However there will be many other opportunities for less formal music-making, in which almost anyone who is interested may become involved. Even just sitting down among friends and listening perhaps to a very simple performance, can help the sense of belonging and sharing.

In many cases, the event will be more social than musical, and the musical content minimal, but nevertheless of importance for all those taking part. Music also offers a