[Menvi-discuss] Note reading
Chela Robles
cdrobles693 at gmail.com
Wed Jan 16 15:53:05 EST 2013
there is also Bettye Krollick's How To Read Braille Music Second Edition.
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"Passion is a great motivator. Music is a life-long learning experience."
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Chela Robles a Nationally Certified person in Customer Service, certified by the National Retail Federation Foundation (NRF): http://www.nrffoundation.com/
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A Lady And Her Trumpet Learning Ally Blog Entry: http://tinyurl.com/d3okj95 please request me to send the two sound clips via email since the site has changed somewhat
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On 1/16/2013 1:10 PM, STEPHANIE PIECK wrote:
> Hello,
> I am a totally blind concert pianist and piano teacher, with both
> blind and sighted students. I introduce music literacy to all my
> students, blind or sighted, with the understanding that, since both
> groups contain students with a wide range of cognitive abilities, some
> of them will get a better grasp of music-reading than others.
> In Braille, there are only six dots, and so there are only a limited
> number of ways these can be combined (63, I think?--sorry if that's
> wrong, but I'm not a math expert!). Print can be written--drawn,
> really--in limitless ways. Just compare the Japanese, Russian, Arabic,
> and English alphabets for proof!
> Keeping "English" (literary) and "music" Braille straight is a problem
> that many people make bigger than it needs to be, especially if they
> are responsible for making sure a kid can read in school. I have had
> many parents and teachers express doubt about whether it's a "good
> idea" to introduce Braille music at all. "Won't it confuse them?"
> In most cases, done properly, the answer is "No".
> If the student understands that, even though there are still six dots
> being used, the WAY they get used is different depending on whether
> they're reading "English" or music, the confusion can be kept to a
> minimum.
> In Braille, octave signs are used to show how high or low particular
> pitches are. So, when I begin Braille music with any student who is
> either just learning literary Braille; has other learning
> difficulties; or is just not a particularly strong Braille reader, I
> explain that there are certain combinations of dots that will
> "announce" that they are reading music, not literary, Braille. The
> octave signs--or in most of my students' cases, the right and left
> hand signs used in piano music--are the "announcers".
> I have found this method works well with a majority of students. Will
> they sometimes make mistakes? Sure! But they often find it humorous to
> be told something like: "This sign means: Hey! Here's Music, Not English!"
> They will also find it funny to try "reading" their music aloud as
> English Braille, but they'll know they're doing it.
> And one more thing: Teachers only have to know enough to stay ahead of
> their students. (Of course, this is pretty simplistic, since I think
> we all would like to be thoroughly comfortable with what we're trying
> to teach!) For TVI's, knowing the way to write notes and rhythms; a
> few octave signs; time signatures and rests; double bars and measures
> will be enough.
> After all, you probably aren't expecting your third graders to be
> reading Beethoven orchestral scores--let alone piano sonatas--at the
> end of one year.
> There is an excellent little book, available from National Braille
> Press, called "Who's Afraid of Braille Music?" by Richard Taesch. It's
> available in both print and Braille, and while it isn't as
> comprehensive as other courses out there, it wasn't designed to be.
> It's meant to give everyone--teachers, parents, and students--a way to
> get started without the trepidation that this subject can often
> instill in people.
> In closing, I applaud you for thinking about how to give your blind
> general-music student exposure to the Braille music code. This is how
> I was introduced to it, back in third grade. I use it for almost
> everything now--preparing for recitals and competitions; teaching;
> composing.
> I was by no means an exceptional student--in fact, I was reluctant,
> didn't practice, and probably caused no amount of frustration to my
> parents and teachers. But if it hadn't been for a public school music
> teacher like yourself, who thought Braille was important or had an
> inkling that it might be, I wouldn't be in the profession I'm in today.
> Stephanie Pieck
>
> ----- Original Message -----
> *From:* Mary A. Walker <mailto:MWalker at oceansideschools.org>
> *To:* This is for discussing music and braille literacy
> <mailto:menvi-discuss at menvi.org>
> *Sent:* Wednesday, January 16, 2013 2:58 PM
> *Subject:* Re: [Menvi-discuss] Note reading
>
> Thank you for your thoughtful responses. I will share them with
> my TVI and other colleagues. I have taught students with a
> variety of special needs over the years. I have been teaching a
> student who is blind for the past two and a half years in general
> music. She is in a class with 22 sighted students. I have done
> my best to give her the tools she will need to be an independent
> musician, however we are at the point (3rd grade) where the
> lessons progress into more complicated sight reading. My student
> is still learning to read literary braille so I understand the
> debate about when to teach braille music very well. The TVI in my
> building is a first year teacher and doesn't have much experience
> with music. We are trying to navigate how and when it is
> appropriate to teach note reading.
> It is invaluable for me to hear what is done in other schools in
> order to contribute to our discussion on how to handle note
> reading. I'm not a stickler for note reading but I believe that
> all of my students should be taught to learn music both aurally
> and through reading for precisely the reasons Mr. McCann stated
> when he said, "But learning by ear can remove us from the source
> of the information because we end up mimicking the interpretation
> of whoever read that score and realized it." This is precisely
> the reason why we teach note reading to any student.
> Thanks again for all of your input. I've already learned a great
> deal since joining this group over the summer.
> Sincerely,
> Mary A. Walker
> School #3 Music Teacher
> Oceanside School District
> ------------------------------------------------------------------------
> *From:* Menvi-discuss [menvi-discuss-bounces at menvi.org] On Behalf
> Of SClark6144 at aol.com [SClark6144 at aol.com]
> *Sent:* Wednesday, January 16, 2013 2:00 PM
> *To:* menvi-discuss at menvi.org
> *Subject:* Re: [Menvi-discuss] Note reading
>
> I wonder just how Laurie would notate music, other than linearly.
> She doesn't offer a better way. I don't mean to be sarcastic,
> but a print reader can see, and print music is a visual
> representation of sound. Braille music is linear because the
> reader cannot see it. When I did research for my book, I found
> some examples of raised print music (the pictures are in my book)
> that people had attempted to use for blind readers. Obviously,
> that was not successful. It's one thing to look at notes on a
> staff and quite another to touch the whole picture (which is what
> it is) and try to figure out what it is.
> Syl
> In a message dated 1/16/2013 1:36:52 P.M. US Eastern Standard
> Time, bnbdowning70 at embarqmail.com writes:
>
> Amen to that!!
>
>
> On Jan 16, 2013, at 12:25 PM, Dale Lieser wrote:
>
> > Well stated, Bill.
> >
> > From: Menvi-discuss [mailto:menvi-discuss-bounces at menvi.org]
> On Behalf Of Bill
> > Sent: Wednesday, January 16, 2013 1:09 PM
> > To: 'This is for discussing music and braille literacy'
> > Subject: Re: [Menvi-discuss] Note reading
> >
> > Dear Ms. Walker,
> >
> > Here's a quote from an interview Laurie Rubin gave to the
> Wall Street Journal blog:
> >
> > "There is braille notation, but I don't tend to use it. I
> came to braille music very late. The thing that I don't like
> is that it's so linear, and you're taking in everything
> piecemeal. A sighted person can look at a whole score and they
> can see where it's going. When you're looking at braille
> music, it's note by note by note. It just gives me the
> willies. It's like putting thread through a needle. It's
> painstaking. I do most everything by ear."
> >
> > So Miss Rubin would not seem to be a valuable source of
> encouragement on the topic of note-reading in braille. One
> excellent singer who completely understands how braille music
> works and how to integrate it into her own work is Jessica
> Bachicha. I am not sure if she is a subscriber on this MENVI
> listserv but I am sure that she is a member. You should be
> able to find her listed in the MENVI directory. In addition,
> there are numerous subscribers here who know a great deal
> about the subject as many of us are blind musicians who have
> used braille music for a long time. That is, you have come to
> the right place to ask. J
> >
> > An observation on Rubin's quote: yes, "A sighted person can
> look at a whole score and they can see where it's going" and a
> sighted person can also look down the road while driving a car
> and see things like traffic signals and roadblocks. The sense
> of sight allows people who have it to perceive objects without
> having to touch them. The human eye can zoom in and zoom out.
> The medium of print music notation matches the visual
> capabilities of sighted people fairly well.
> >
> > But so what? If we cannot see, we must find another way.
> Certainly learning by ear is a coping strategy which I have
> used myself when braille scores were not available. But
> learning by ear can remove us from the source of the
> information because we end up mimicking the interpretation of
> whoever read that score and realized it.
> >
> > Louis Braille designed his ingenious music system to match
> how blind people perceive information by touch. In a sense,
> we are always zoomed in to the braille character that fits
> beneath the tip of a finger. The medium of braille notation
> is well suited to how blind people acquire information
> tactually. Linear presentation delivers information in a
> logical progression. The order of braille music signs
> supports memorization. Blind vocalists can actually read while
> singing but instrumentalists must memorize the score before
> performing it.
> >
> > Just as sighted musicians must synthesize score information
> into an internal picture of the score, so too must we blind
> musicians. We all must internalize the music before we can
> competently perform or analyze it. In other words, our brains
> must understand the music. Print and braille music notation
> are just different methods to deliver the information to our
> brains.
> >
> > Bill McCann
> > President
> > Dancing Dots Braille Music Technology, L.P.
> > www.DancingDots.com
> > Tel: 610-783-6692
> >
> >
> > From: Menvi-discuss [mailto:menvi-discuss-bounces at menvi.org]
> On Behalf Of Mary A. Walker
> > Sent: Wednesday, January 16, 2013 8:51 AM
> > To: This is for discussing music and braille literacy
> > Subject: [Menvi-discuss] Note reading
> >
> > Hello Everyone!
> >
> > I am an elementary general and choral music teacher
> interested in learning how to read braille music. I have two
> questions.
> >
> > 1. Do you have any course recommendations for braille music
> and/or teaching music to the visually impaired? My colleague
> recommended the Hadley School for the Blind online course.
> >
> > 2. In what context do students typically learn to read
> braille music? From a private music teacher? A TVI? Or a
> public school music teacher? I recently read Laurie Rubin's
> book, hoping to gain insight into how to best support note
> reading in the classroom setting. It was a great book but she
> did not go into specifics related to note reading.
> >
> > Any recommendations are greatly appreciated!
> >
> > Thank you!
> >
> > Sincerely,
> >
> > Mary A. Walker
> > School #3 Music Teacher
> > Oceanside School District
> >
> > From: Menvi-discuss [menvi-discuss-bounces at menvi.org] On
> Behalf Of Timothy Clark Music [timothyclarkmusic at me.com]
> > Sent: Tuesday, January 15, 2013 3:10 AM
> > To: This is for discussing music and braille literacy
> > Subject: [Menvi-discuss] Fwd: [Members] I have four magic
> questions for you...
> >
> >
> > Timothy
> > Your friend in the music industry
> > http://www.timothyclarkmusic.tumblr.com
> > 7244011224
> >
> > Begin forwarded message:
> >
> >
> > From: **Chris Rockett** <contact at promoteyourmusic.net>
> > Subject: [Members] I have four magic questions for you...
> > Date: January 13, 2013 12:21:20 AM EST
> > To: Timothy Clark Music <timothyclarkmusic at me.com>
> >
> > Hey Guys,
> >
> > Just wanted to share a few questions I've started asking myself
> > every morning to stay on track...think they will help you too.
> >
> > Here goes...
> >
> > 1) What five things must I do today to move my music career
> > forward?
> >
> > 2) Who do I need to speak to today who can help me
> > on the journey?
> >
> > 3) Who have I already reached out to and need to follow up with?
> >
> > 4) What are the main things I must complete today,
> > no matter what? (Do this stuff first)
> >
> > That's it!
> >
> > Try and hold off looking in your email inbox until you have
> got the
> > most important things done, because your email will usually
> be full of a
> > bunch of stuff that other people want you to do and you
> suddenly
> > have no time left for yourself.
> >
> > I'd love to hear some of your answers.
> >
> > - Chris
> >
> > --------------------------------
> >
> > Founder of Music Marketing Classroom
> >
> >
> >
> >
> >
> >
> >
> >
> >
> >
> >
> >
> > .
> >
> >
> > Flat 6 109 Warhouse Rd, London, SW8 9EP, UNITED KINGDOM
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