Reflections on and Some Recommendations for Visually Impaired Students

[1] Whatever one's training in music theory, little in our course work or early teaching prepares us to work with students who are visually impaired. Sadly, our journals, until now at least, have been remarkably silent on even the most basic questions regarding how Braille notation works and the resources that are available for both student and professor. Failure in these areas points to an even deeper chasm in our pedagogical knowledge-namely that we have no precise understanding of what visually impaired students really need to know and the best way(s) to teach it. The purpose of this paper, however, is not to fill these voids with certainty, but merely to begin the discussion from the very limited perspective of my own experience. Here, then, I will address four main issues: (1) mainstreaming versus individualized instruction, (2) preliminary planning, (3) classroom planning and pedagogy, and (4) working with Braille notation. A short conclusion follows.Basic Questions: Mainstreaming vs. Individual Instruction[2] It is useful to begin discussion with the legal end of matters. According to federal law, the instructor or program must provide "reasonable accommodations" for any documented disabilities. The legislation itself, however, left the meaning of "reasonable accommodations" purposefully vague, thus allowing for varying interpretations. In the case of teaching visually impaired students, it might arguably entail as little as locating a copy of the textbook in an alternative format (Braille or audio recording), and perhaps enlisting an aid to help the student transcribe his or her homework. With just these seemingly slight accommodations, a visually impaired student may excel in the classroom, provided that the professor consistently provides clear instruction. Additional alterations to course content or teaching style may not be necessary, allowing the visually impaired student to learn right along with everyone else in the class. Based upon my own experience, this approach-in effect mainstreaming-is likely to work best with students already familiar with theory and aural skills, and who have considerable experience with Braille notation.[3] At the opposite end of the accommodation spectrum, one can eschew classroom mainstreaming entirely and provide individual instruction, thus tailoring the content to the student's needs and learning style. According to those that have taught visually impaired students in this way, they typically deliver course content orally in 1-on-1 sessions, and have the student reproduce by singing or playing what is notated in the traditional theory course.(1) Focusing on practical application, this approach can avoid the complications that arise from having to locate an appropriate text, change class format, and transcribe music, charts, handouts, and examples into Braille.[4] Pure mainstreaming and individualized instruction represent two extremes, and it is likely that most instructors will mix aspects of the two. For instance, mainstreaming often requires some sort of individual instruction, especially during the critical starting phase of the semester. Conversely, most visually impaired students will benefit from classroom experience, even if that experience is more social than instructional. While not all student information is correct, students often learn through conversation and discussion with each other, and removing a visually impaired student from this information stream may diminish the effectiveness of the instruction, resulting in a less well-prepared student.Preliminary Planning[5] Ultimately, the exact approach one takes to educating a visually impaired music student will be influenced by many broad factors including curriculum and program, student level, available support services, and individual faculty interest. For instance, the requirements and needs of a music major in a liberal arts program will most likely differ from those of a performance major at a conservatory. …