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