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Music and dyslexia is of particular interest for two reasons.
Firstly, research suggests that music education can benefit young
dyslexics as it helps them focus on auditory and motor timing
skills and highlights the rhythms of language. Secondly, dyslexic
musicians at a more advanced level face particular challenges such
as sight-reading, written requirements of music examinations and
extreme performance nerves.
This is a sequel to the highly successful Music and
Dyslexia: Opening New Doors, published in
The field of dyslexia has developed
rapidly, particularly in the area of neuropsychology. Therefore
this book focuses on these research advances, and draws out the
aspects of music education that benefit young dyslexics.
The contributors also discuss the problems that dyslexic
musicians face, and several chapters are devoted to sight-reading
and specific strategies that dyslexics can use to help them
sight-read.
The book offers practical techniques and strategies, to teachers
and parents to help them work with young dyslexics and dyslexic
musicians.
Autorentext
Tim Miles, OBE, MA, PhD, CPsychol., FBPS, was the first professor of Psychology at the University of Wales, Bangor, serving from 1963 to 1987, and is now professor Emeritus. He has published widely both on dyslexia and other topics. he is an amateur cellist.
John Westcombe taught music in Inner London before taking advisory and music direction posts in three large LEAs. More recently, consultancy work has been done for Trinity college of Music and Youth Music. Current interests include concert reviewing and Chairing the British Dyslexia Association Music Committee. Heinemann published his careers in Music (1997).
Diana Ditchfield Studied piano performance at the royal Irish Academy of Music, before taking degrees in Education and trading in secondary school in the United Kingdom. Her interest in dyslexia started in the 1980s. She teaches piano at the Municipal School of Music in Limerick and is a Learning Support Tutor in Disability Services at University Level.
Klappentext
This book is a sequel to the highly successful and insightful Music and Dyslexia -- Opening New Doors. It takes up some of the themes mentioned in the earlier book, including sight-reading and the problems of mastering musical notation. The positive approach to dyslexia advocated by the contributors reflects their experience over many years and will be an encouragement alike to dyslexic musicians and their teachers.
The book has four sections. The first section, tackling problems, explains what dyslexia is, describes some of the developmental differences of which teachers and others need to be aware and outlines some of the circumstances which may cause problems for dyslexics that are not obvious at first glance. The second section, in and around the classroom, looks at significant aspects of teaching and learning music in the pupil's life. Early years, winning over reluctant musicians, musical games to play in the language classroom, sight-reading and what role computers can play are all discussed, with practical ideas and suggestions for the teacher.
The third section looks at strategies and successes. It embraces both the maturing voice and oboes as well as links between acknowledged early precepts and advice given at a critical period of a student's life in Higher Education. The final section looks at the neurological aspect of dyslexia, focusing on the newest research in brain imaging to expand our knowledge of what the brain is doing while music is being engaged in.
Music and Dyslexia A Positive Approach increases understanding and imaginatively challenges the difficulties those with dyslexia and their teachers' encounter whilst positively urging all to enjoy music's pleasures.
Zusammenfassung
Music and dyslexia is of particular interest for two reasons. Firstly, research suggests that music education can benefit young dyslexics as it helps them focus on auditory and motor timing skills and highlights the rhythms of language. Secondly, dyslexic musicians at a more advanced level face particular challenges such as sight-reading, written requirements of music examinations and extreme performance nerves.
This is a sequel to the highly successful Music and Dyslexia: Opening New Doors, published in 2001. The field of dyslexia has developed rapidly, particularly in the area of neuropsychology. Therefore this book focuses on these research advances, and draws out the aspects of music education that benefit young dyslexics. The contributors also discuss the problems that dyslexic musicians face, and several chapters are devoted to sight-reading and specific strategies that dyslexics can use to help them sight-read.
The book offers practical techniques and strategies, to teachers and parents to help them work with young dyslexics and dyslexic musicians.
Inhalt
Foreword.
List of contributors.
Preface.
Section I. Tackling problems.
Dyslexia and Developmental differences (T. R. Miles).
Things that can go wrong (T.R. Miles).
Section II. In and around the classroom.
Classroom rhythm games for literacy support (Katie Overy).
Early years: Deirdre starts to learn piano (Olivia McCarthy and Diana Ditchfield).
Winning over the reluctants (Christine McRitchie Pratt, Diana Ditchfield, Sheila Oglethorpe and John Westcombe).
Can music lessons help the dyslexic learner? (Sheila Oglethorpe).
Parallels between the teaching of musical and mathematical notation (Tim Miles).
The paperwork (Diana Ditchfield).
Sight-reading (Sheila Oglethorpe).
Sight-reading and memory (Michael Lea).
Ten top tips and thoughts (Nigel Clarke).
Can computers help? Matching the inner with the outer ear (Adam Apostoli).
Section III. Strategies and successes.
Positive connections across the generations (Annemarie Sand and John Westcombe).
Similarities and differences in the dyslexic voice (Paula Bishop-Liebler).
Thirty-seven oboists (Carolyn King).
Suzuki benefits for children with dyslexia (Jenny Macmillan).
Dyslexia: no problem (Diana Ditchfield).
Section IV. Science takes us forward.
Insights from brain imaging (Katie Overy).
Music reading: a cognitive neuroscience approach (Lauren Stewart).
Index.