Following is the conclusion of the three-part series on the 2006 workshop collaboration presented by California State University, Northridge - Center on Disabilities, and Southern California Conservatory of Music - Braille Music Division

V. DISCUSSION: COMMON CHALLENGES

You're accepted to school. Now what?**

1. Request that a syllabus for each music class be provided to you and your transcriber as far in advance as possible.
2. Request that the exact dates that each specific assignment and exam is due to be clearly marked on the syllabus.
3. Explain that there will not be sufficient time to prepare complete books, and that you will need to ask that the professor take the time to highlight ONLY the music examples that he or she might expect to cover. You can only expect this within reason, as the teacher may find it necessary to delete or add other assignments as the class progresses. Explain that a reader is a viable alternative for literary text portions. Sometimes professors prefer not to follow text verbatim. They may only ask you to be aware of its content. This may not even require braille text, especially if there is not time to obtain full textbooks. Music examples are required, however. Where large anthologies are needed for history and listening classes, discuss the possibility of having only a few measures of each required score transcribed. Many of the sighted students may not be able to follow those scores themselves except to scan them lightly. By listening well, and seeing the general structure of the music, you may have sufficient information with just short excerpts. Always seek the professor's advice and suggestions.
4. Be sure that the professor's email address is provided on the syllabus for the transcriber to make contact for clarifications. Nearly all college teachers today will make their email available to students, and are very willing to communicate with a braille transcriber.
5. You, the student, must seek a reader for text that cannot be brailled. Let the school know that you will take that responsibility, but ask them for assistance in finding a good volunteer. Most music departments have willing tutors who need special credit for this kind of service.
6. Request that all of the professor's handouts be given to the transcriber according to the syllabus planned due dates. Be sure the transcriber is aware of the quizzes and exams, and when they are expected.
7. You will most likely need funding for a professional music transcriber's services. Volunteers may be able to help, but keep in mind that professionals are paid and are expected to perform in reasonable time frames. Whereas, volunteers may only be able to work in spare time. Does the school provide any funding for transcribing services? If so, re-assure them that you will only ask for that which is absolutely necessary according to the ideas listed above. If the school itself has any funding, it will most likely be very limited. If you must resort to State Rehab funding, keep in mind that they must also be concerned with costs. Do not rely on an assumption that they will support you.
8. Maintain contact with your transcriber. You will inevitably encounter new music code signs and rules that you do not understand. This will be true especially if you are new to music reading. Nearly all code and theory problems can be solved by simply asking the music transcriber to walk through the examples with you. Remember that they must know music well before being certified in music braille. They are your best resource. Remain in frequent contact with them.

*See also: "Problems - Solutions" - MENVI Journal, Issues 8 and 15 - www.menvi.org

**Reprinted with permission from: "A Blind Music Student's College Survival Guide" - Richard Taesch

1. MYTH: All textbooks must be fully prepared in braille prior to beginning classes.
• FACT: Complete books need not be formally produced prior to classes.
2. MYTH: It is a blind student's responsibility to make sure that he or she obtains the services of a music transcriber.
• FACT: It is not your job to "shop" for transcribers. Schools generally provided Disabled Student Services to do that for you.
3. MYTH: Professors often travel when classes are not in session. It is not practical to request a syllabus before classes begin.
• FACT: It is not only recommended to request a syllabus well in advance of beginning classes, it is ESSENTIAL! All due dates for specific materials, quizzes, and final exams must be included if the services of a transcriber will be required.
4. MYTH: As a braille reader, you should request all books to be provided in braille for you, complete, and in required BANA format.
• FACT: That may be your lawful right in most states, but when time is short, you need not obtain full text materials in braille. Ask ONLY for specific music examples that the transcriber can do for you in a timely manor. These MUST be provided to you in braille. Music transcribers can also work in tandem with textbook specialists.
5. MYTH: One primary problem for braille readers is that of poor "turn-around- time" on the part of over-worked transcribers, and the fact that there are so few experienced music transcribers available.
• FACT: The chief problem with music braille is not poor turn-around time on the part of transcribers. The problem is nearly always a lack of planning on the part of students, directors and teachers with respect to blind students in their classes.
MYTH: Music textbooks should not be put on tape by a reader in lieu of braille transcriptions.
• FACT: The student's literary skills are not the issue here. Getting the special braille codes that music requires in hand, and on time, is top priority. Plan to request the help of a volunteer "reader" for text materials when full books will not be available on time. This may be the only way a student will be able to complete his or her class.
6. MYTH: Transcribers must be expected to complete all music excerpts in a class- required textbook.
• FACT: Sometimes only a small percentage of music examples or exercises in a book will be required. Generally, a professor will have an idea - before class begins - on which materials he or she will require. Even when a short time for planning has been allowed, decisions can still be made "as-you-go," and yet be sufficiently in advance of a class project.
7. MYTH: Rehabilitation Counselors are on your side, and will do everything possible to support you in your pursuit of a music education.
• FACT: Many Rehab Officers are truly doing everything they can to help their clients. However, when state budgets are being severely cut in the arts and education, they are less likely to support music. Time and again, students are being told by their Rehab Counselors that pursuit of music in their education is "un-realistic."
8. MYTH: You should trust the advice of Counselors who feel music is not realistic for you, and pursue another field.
• FACT: Students should know that it is the job of Rehab to support a disabled person in his or her pursuit of eventual independence and employment. Although they must base decisions upon current facts and required guidelines, it should not be acceptable for them to discourage viability - or employment opportunities - that might result from a thorough music education! It might be well to note that articles in major magazines have pointed out that certain corporations have been known to look very favorably on music degrees in their hiring policies.* Music grads can make fine computer programmers, and often work in other areas such as education, copyrights, and entertainment industry fields. Any degree only serves to prove that you have the ability to stick to something. It cannot guarantee your skills or experience no matter what the field.