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E-raamat: Insights in Sound: Visually Impaired Musicians' Lives and Learning

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Music has long been a way in which visually impaired people could gain financial independence, excel at a highly-valued skill, or simply enjoy musical participation. Existing literature on visual impairment and music includes perspectives from the social history of music, ethnomusicology, child development and areas of music psychology, music therapy, special educational needs, and music education, as well as more popular biographical texts on famous musicians. But there has been relatively little sociological research bringing together the views and experiences of visually impaired musicians themselves across the life course. Insights in Sound: Visually Impaired Musicians Lives and Learning aims to increase knowledge and understanding both within and beyond this multifaceted group. Through an international survey combined with life-history interviews, a vivid picture is drawn of how visually impaired musicians approach and conceive their musical activities, with detailed illustrations of the particular opportunities and challenges faced by a variety of individuals. Baker and Green look beyond affiliation with particular musical styles, genres, instruments or practices. All 'levels' are included: from adult beginners to those who have returned to music-making after a gap; and from 'regular' amateur and professional musicians, to some who are extraordinarily 'elite' or 'successful'. Themes surrounding education, training, and informal learning; notation and ear playing; digital technologies; and issues around disability, identity, opportunity, marginality, discrimination, despair, fulfilment, and joy surfaced, as the authors set out to discover, analyse, and share insights into the worlds of these musicians.

Arvustused

Baker and Green have written a landmark study of the perspectives and practices of visually impaired musicians. Through opening up this musical world within such a broad range of musical contexts, they have succeeded in offering powerful insights to both musicians and educators, which can only serve to enrich our understanding, knowledge and practice.

Gordon Cox, University of Reading, UK

Insights In Sound offers a substantial contribution to the field. Using the colorful and insightful stories collected from hundreds of visually impaired musicians and the individuals who work with them, Baker and Green offer a comprehensive picture of the complexity of visually impaired musicians lives. This is a must read for anyone interested in understanding the lived experiences of musicians, or music education for the visually impaired.

Chi Gook Kim, Berklee College of Music, USA

Finally there is a text that addresses the lives of visually impaired musicians, and dispels the myths surrounding their abilities and disabilities. The authors reflect on the voices of those who create, perform, and experience music without the benefits of full eyesight, offering fresh perspectives and insights on the meaning of creativity and musicality.

Suzanne B. Hanser, Berklee College of Music, USA

List of illustrations
xi
Acknowledgements xii
Note on the text xv
1 Background, aims, and context
1(24)
Studies of visual impairment and musical participation
2(5)
The aims of the book
7(1)
What do we mean by "visually impaired", and what kinds of visual impairment among musicians are included in our study?
8(3)
The terms "impairment", "disability", "handicap", and the deficit model
11(1)
What do we mean by "musician", and what kinds of musician are included in our study?
12(1)
How we came to this research
13(4)
Research methods, participant sample, and communicating with our participants
17(4)
Methods and sample
17(1)
Communicating with our participants: digital technologies, Braille, and the telephone
18(1)
Limitations
19(2)
Overview of the book
21(2)
Reflections
23(2)
2 Musical starting points and reasons for involvement
25(18)
Beginnings: visual impairment's role in taking up music
25(11)
Parental interest and family background in music
28(3)
Apparently exceptional innate abilities in early childhood, and their encouragement
31(1)
Influential figures outside the family
32(1)
The role of the school in initiating musical interest and involvement
33(3)
Original and current reasons for participation
36(6)
Mood regulation, escapism, and "therapy"
37(3)
Purpose in life
40(1)
Social belonging
41(1)
Reflections
42(1)
3 Learning at school
43(18)
Educational provision for visually impaired children: some historical background and current trends
43(4)
Mainstream education versus special education
47(8)
Isolation in the mainstream
50(2)
Isolation in special education
52(1)
Alleviating isolation in special education
53(1)
Social and musical opportunities in the mainstream school
54(1)
Who is responsible?
55(3)
Reflections
58(3)
4 Teachers' knowledge and skills; students' confidence and autonomy
61(15)
Teachers' skills and understanding: some critical perspectives of students
62(1)
Specialist knowledge and special needs
63(3)
Time, its demands, and its challenges
66(1)
Differentiation and flexibility
67(2)
Instrument choice
69(3)
Students' confidence and autonomy
72(2)
Reflections
74(2)
5 Light, gesture, language, and touch in music teaching and learning
76(17)
Light and its implications for teaching practices and contexts
76(3)
Physical gesture and its relationship with music-making, learning, and teaching
79(5)
Language and its uses or misuses in musical communication and pedagogy
84(3)
Touch and its complex place in music teaching and learning
87(4)
Reflections
91(2)
6 Learning and participation beyond the school
93(26)
Informal learning at school age
96(3)
A disparity between the formal curriculum and externally developed skills
96(1)
Self-organized ensembles at school age
97(2)
Group participation, instrumental and vocal lessons beyond the school
99(4)
The need for relative independent mobility in order to access lessons or to participate with others
100(3)
Higher education
103(2)
Taking part in orchestras, choirs, and other groups
105(5)
Conducted groups
105(4)
Smaller groups: chamber music and jazz or popular styles
109(1)
Stagecraft
110(1)
Networks
111(6)
Why network? Self-promotion, acquiring information, and belonging
113(2)
Networking difficulties
115(2)
Reflections
117(2)
7 Visual, tactile, and aural media: stave notation, Braille music, and the ear
119(23)
Visually mediated scores: modified, enlarged, and magnified scores
120(3)
Aurally mediated talking scores
123(1)
Tactile scores: Braille music
123(5)
Other tactile notation
128(1)
The issue of sight-reading or learning notes from a score
129(4)
Ear playing
133(4)
Strategies for teaching ear playing to visually impaired learners
137(2)
Reflections
139(3)
8 Being a "musician" or being a "disabled musician"
142(16)
The Inner Vision Orchestra
143(3)
The Paraorchestra
146(1)
Disability music and its rationale
147(1)
Visual impairment as a marketing strategy
148(2)
Mixed and dissenting voices
150(5)
Reflections
155(3)
9 Digital music technologies: the changing landscape
158(16)
The advance of electronic music: three stories
160(6)
Kevin's story
160(2)
Peter's story
162(2)
Joe's story
164(2)
Changing the musical landscape through digital technologies
166(2)
Technology and Braille music
168(4)
OMR in score production
169(3)
Reflections
172(2)
10 Digital music technologies, access, and the music industry
174(18)
Access to training
174(2)
Cost
176(2)
The industry: playing "cat and mouse" with software
178(1)
Creating plug-ins for notation, music production, and recording programs
179(1)
Inaccessibility, recording, and music production careers
180(3)
From digital files to alternative score formats
183(2)
Copyright issues
185(2)
Sighted help with operating hardware and software
187(2)
Reflections
189(3)
11 Aspirations and the search for fulfilment as a musician
192(8)
Diversification and continuing development in the search for fulfilment
193(2)
Becoming a full-time musician, professionalization, and securing one's future
195(3)
Reflections
198(2)
Appendix 1 Glossary of eye conditions and terms used in the medical profession 200(6)
Appendix 2 Other technical and non-technical terms 206(3)
Appendix 3 Research methods and demographics of the research sample 209(16)
Appendix 4 Literary Braille, digital assistive technologies, and communication 225(5)
Appendix 5 Respondents from whom we cited interview text or accounts provided through e-mail exchanges 230(6)
References 236(25)
Index 261
David Baker, Lucy Green