Affordance of Braille music as a mediational means: significance and limitations

Park, Hyu-Yong; Kim, Mi‐Jung

doi:10.1017/s0265051714000138

Cited by 6 publications

(7 citation statements)

References 17 publications

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“…Antoine began the semester without accessible music and attempted to accommodate himself by relying on what was available. Particularly for Antoine, the process of learning braille music was time-consuming and represented a barrier to his music teaching and learning, a finding supported by extant research (Abramo & Pierce, 2013;Lubet, 2004;Moss, 2009;Park & Kim, 2014). Though Lindsey's music was brailed prior to the semester's inception, she struggled when unexpectedly assigned a piece that was not accessible and self-accommodated using her digital recorder.…”

Section: Discussionmentioning

confidence: 97%

“…Teachers with disabilities are important for diversifying the workforce and challenging perceptions of what it means to be able-bodied. In music education, researchers have focused on the experiences of individuals with visual impairments, including music teaching and learning within schools for the blind (Abramo & Pierce, 2013; Park & Kim, 2014) and one study of students with visual impairments enrolled in public school instrumental programs (Moss, 2009). In all inquiries, researchers found that using notation in musical contexts was secondary to sound.…”

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confidence: 99%

“…In all inquiries, researchers found that using notation in musical contexts was secondary to sound. Park and Kim (2014) and Moss (2009) identified three challenges of using braille music for musicians with visual impairments, including adaptability, difficulty of learning and mastering the notation system, and accessibility of scores.…”

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confidence: 99%

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A Narrative of Two Preservice Music Teachers With Visual Impairment

Parker

Draves

2016

Journal of Research in Music Education

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The purpose of this narrative inquiry was to re-story the student teaching experience of two preservice music education majors who are visually impaired or blind. While music education scholars have devoted attention to P–12 students with disabilities, research with preservice music teachers with impairments is seemingly nonexistent. Using a transformative paradigm and social model of disability as lenses, we retell participants’ experiences across three commonplaces of narrative inquiry: sociality, temporality, and place. Participants told their student teaching stories through various field texts, including interviews, journals, emails, and informal conversations. Three particular issues were highlighted strongly within their narratives: accessible music, reliance on others, and individuals’ attitudes. Issues of what constitutes effective teaching, teacher identity construction, and preparedness for working with individuals with disabilities also emerged. Multiple avenues are suggested for practice, research, and policy in music, teacher education, and teachers with disabilities.

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Section: Discussionmentioning

confidence: 97%

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confidence: 99%

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A Narrative of Two Preservice Music Teachers With Visual Impairment

Parker

Draves

2016

Journal of Research in Music Education

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“…In contexts such as this one, the mastery of Braille notation is extremely important for music learning (Chaves, 2014) and together with the use of assistive devices and technologies, is the main source of student autonomy (Egea, 2008). It enables them to understand music theory, compose, learn repertoire (Baker, 2014), and feel and create their own music, instead of just imitating the sounds they hear (Park & Kim, 2014).…”

Section: Introductionmentioning

confidence: 99%

Teaching–learning resources and supports in the music classroom: Key aspects for the inclusion of visually impaired students

Pino

Viladot

2018

British Journal of Visual Impairment

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Currently, there still exist barriers that prevent a satisfactory connection between music education and the visually impaired population. This is due to the teachers' lack of preparation and their general ignorance of the functioning of the Braille music system, the materials, specialist support, and other tools needed for the inclusion of this type of students in the classroom. In order to familiarize the educational community with the resources and specialist support involved in inclusive music teaching, we conducted and analysed semi-structured interviews with the following persons: (1) the music specialists at the Organización Nacional de Ciegos Españoles Resource Centre (Spanish National Organization of the Blind); (2) a music teacher who had two visually impaired students in her classes; and (3) a blind student who studied music and had specialized in piano performance. The contributions made by this article consist of the categorization of the different teaching-learning resources involved in inclusion, information on how specialist support can be provided to facilitate these resources, and the relationships between resources and specialist support taking into account the point of view of teacher as the main figure responsible for inclusion in the music classroom.

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“…Recently, the Braille code has been revised into a more simplified and efficient form so that the users could easily recognise letters with fewer touches (Olstrom, 2010). Nonetheless, as Braille music is not easy to learn or convenient to use, only few people with visual impairment utilise it.…”

Section: Introductionmentioning

confidence: 99%

How Useful is Braille Music?: A Critical Review

Park

2015

International Journal of Disability, Development and Education

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This article discusses the usefulness of Braille music as a mediational means for musicians with visual impairment (MVI). Specifically, three broad issues are the focus of this study: (1) three notions as the conceptual frameworks, namely, mediation, appropriation and mastery; (2) three criteria of the usefulness of Braille music, including adaptability, learnability and availability; and (3) three alternative channels to Braille music: auditory input, haptic sense and technical devices. Based on this structure, the author interviewed nine music teachers and seven students with visual impairment at a specialised school for the blind in Korea. The major findings of this research are as follows. Firstly, Braille music alone cannot be a sufficient tool for practice, and the combination of alternative tools is expected. Secondly, the current level of development, diffusion and employment of Braille music in Korea is not satisfactory. Thirdly and finally, more effort should be invested to make Braille music more adapted to the needs and conditions of MVI, more appropriate to learn and utilise, and more available to be accustomed to.according to these criteria, what are the alternative approaches to enhance the usefulness of Braille music? To answer this question, this paper critically reviews the ways of making Braille music more useful through the combination of alternative channels, such as auditory input, haptic sense and technical devices. Literature ReviewConceptual Framework: Mediation, appropriation and masteryHaving discussed the characteristics of Braille music, how can we utilise Braille music more effectively? According to the affordance theory, the affordance of a thing is acquired through the interaction of an organism with its environment. The acquisition may be a result of innate capabilities of an agent (innate affordance: Norman, 1999), of the consequences of trial or learning (learned affordance: Gibson, 2000), or of the outcome of a conceived plan (designed affordance: Murphy, 1999). To adopt this theory to the case of Braille music, the affordance of Braille music is secured not only by the visual and native usefulness, but also by learned usefulness from alternative senses, or designed usefulness from mediation and appropriation.This article proposes to discuss the question of the usefulness of Braille music as a mediational means in terms of three concepts: mediation, mastery and appropriation. Let me briefly discuss these concepts.According to Moss (2009), the relationship between a music player (an agent) and a musical instrument (a medium) is mediational and consists of mediated actions. Therefore, all musicians are indeed "individuals-operating-with-mediational-means," and their instruments, such as strings, percussions, keyboards, wind instruments and even vocals, are media (Moss, 2009, p. 245). In this sense, to practice an instrument, rehearse, or perform a piece of music, MVI do not necessarily rely on their vision; without vision, they can develop and use other senses, capacities, or uti...

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Affordance of Braille music as a mediational means: significance and limitations

Cited by 6 publications

References 17 publications

A Narrative of Two Preservice Music Teachers With Visual Impairment

A Narrative of Two Preservice Music Teachers With Visual Impairment

Teaching–learning resources and supports in the music classroom: Key aspects for the inclusion of visually impaired students

How Useful is Braille Music?: A Critical Review

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