Dear Kris,<div><br></div><div>I have been tutoring a dyslexic opera major in aural skills for the past 3 years, and am also collaborating on a research project investigating whether the multi-modal demands of opera training may ameliorate the learning challenges faced by singers with LDs. Your observation of the paucity of resources and research on the particular challenges faced by adult dyslexic musicians is accurate, unfortunately, with the exception of a case study by Sylvie Hebert et al. published in <i>Music Perception</i> in 2007. (I'd be delighted if anyone could tell me of any more recent research, but that is the only one I'm aware of.) </div>
<div><br></div><div>I would recommend Miles and Westcombe's <i>Music and Dyslexia: Opening New Doors</i>, since it does make reference to adult dyslexic musicians, both in post-secondary institutions and in their professional lives. The book is very expensive, but you can order the unabridged audiobook version on CDs for $34.95. </div>
<div><br></div><div>Some specific recommendations I've seen have included printing music onto blue paper, or thickening the middle line of the staff, or colour-coding the top and bottom lines. If you'd like to meet for coffee at SMT, please contact me off-list as I'd be happy to share what I've learned from working with this student. Overall, I believe British post-secondary music institutions such as the RCM are much better at addressing their LD students than we are in North America.</div>
<div><br></div><div>The good news is that while the problems may seem insurmountable at first, dyslexics <i>can</i> make progress if they are given the time and not thrust into a classroom situation. It's best if the student can focus on a limited number of tasks per session, and work towards completing tests across multiple sessions rather than all at once. It takes a great deal of patience on the part of both student and tutor, and enough sensitivity on the tutor's part to recognize when the student's frustration has reached a level where it's more constructive to suspend that task for the day and work on something else for a while. It's also really important to break down every task into the smallest possible steps, and tell the student whenever you notice the slightest improvement, however small it might seem in relation to the overall course requirements. </div>
<div><br></div><div>I look forward to reading others' responses to your question.</div><div><br></div><div>Good luck to you and your student,</div><div>Laurel</div><div><br></div><div><div><br></div><div>Laurel Parsons, Ph.D.</div>
<div>Tutor, Music and Humanities<br>Quest University Canada<br>3200 University Blvd.<br>Squamish, BC<br>VB8 0N8<br><a href="mailto:laurel.parsons@questu.ca" target="_blank">laurel.parsons@questu.ca</a><br><a href="http://www.questu.ca" target="_blank">www.questu.ca</a></div>
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<br><div class="gmail_quote">On Fri, Oct 14, 2011 at 3:50 AM, Kris Shaffer <span dir="ltr"><<a href="mailto:kshaffer@csuniv.edu" target="_blank">kshaffer@csuniv.edu</a>></span> wrote:<br><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex">
<div style="word-wrap:break-word">Dear Colleagues,<div>I have a freshman music theory and aural skills student who is demonstrating signs of dyslexia. While she is pursuing testing and an official diagnosis, I'm searching for ways to help her through some of her specific struggles. So far I've found some helpful lists of musical problems often associated with dyslexia, many of which are true for this student, but nothing in terms of helping an adult learn music theory, dictation, or sight singing. Do any of you know of specific resources for music theory instructors in this regard? Or have you found types of practice techniques, assignments, accommodations that were helpful for a dyslexic student in your charge? Until we have an official diagnosis, we can't make any testing accommodations, but I'd like to start tutoring as soon as possible (she needs tutoring help whether dyslexic or not!), or she may fail the course. So I'd <i>really</i> appreciate any suggestions for training/practice techniques that we can try right away.</div>
<div><br></div><div>She is currently in the first semester of theory (finishing up 2-voice species counterpoint in a week or so and moving on to basic chord structures) and aural skills (just started a unit with first substantial focus on melodic dictation, using Karpinski's protonotation-to-musical-notation method). Any suggestions specific to that would be amazing. But anything relating to dyslexia and musical notation, musical instruction, solfege, dictation, etc. would be a big help. And if any of you with insights want to talk over coffee at SMT, that would be wonderful.</div>
<div><br></div><div>Thanks!</div><div><br><div>
<span style="border-collapse:separate;color:rgb(0, 0, 0);font-family:Helvetica;font-style:normal;font-variant:normal;font-weight:normal;letter-spacing:normal;line-height:normal;text-align:-webkit-auto;text-indent:0px;text-transform:none;white-space:normal;word-spacing:0px;font-size:medium">Kris Shaffer<br>
Assistant Professor of Music Theory<br>Charleston Southern University<br><a href="http://kris.shaffermusic.com" target="_blank">http://kris.shaffermusic.com</a><div><br><br>Prof. Kris Shaffer<br>Charleston Southern University<br>
Horton School of Music<br>9200 University Boulevard<br>P.O. Box 118087<br>Charleston, SC 29423-8087</div><div><a href="tel:%28843%29%20863-7964" value="+18438637964" target="_blank">(843) 863-7964</a><br><a href="mailto:kshaffer@csuniv.edu" target="_blank">kshaffer@csuniv.edu</a></div>
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<br></blockquote></div><br><br clear="all"><div><br></div>-- <br>Laurel Parsons, Ph.D.</div><div>Tutor, Music and Humanities<br>Quest University Canada<br>3200 University Blvd.<br>Squamish, BC<br>VB8 0N8<br><a href="mailto:laurel.parsons@questu.ca" target="_blank">laurel.parsons@questu.ca</a><br>
<a href="http://www.questu.ca" target="_blank">www.questu.ca</a><br><br>
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