JAVS Fall 2008

or mini-discs become difficult to store in large quantities. Another useful format for recording and storage is that of an MP3 file, thereby making the recording available on an MP3 player or iPod. In addition to listening to the recordings I have made for her, I have encouraged Rebecca to immerse herself in listening to artists' recordings of the pieces she is working on. Although this tech nique is frequently used for younger students, I have found it is invaluable at advanced levels as well. For example, she has been able to find several earlier record ings of William Primrose playing the Bartók Concerto. Listening to the recordings, Rebecca is able to follow the interaction of the viola with the orchestral parts, as well as listen to Primrose's style and treat ment of the work. Rebecca, in her search for recordings, has found that often the best recordings are ones on old vinyl records. Excellent recordings not available on CDs, or records not found in the United States, are easily found online. "Retro" record players and turntables are once again available at many stores and offer a link to hearing the music played as the artist and/or composer intended. Along with employing Rebecca’s listening as a teaching aid, I readily grasped the importance of teaching her by physical demonstration of instrument, bow, or body position. Unlike students who can visualize how to place themselves and mimic my correct posture, I found

simply taking the instrument—or perhaps her arm—and placing it in the proper position worked won derfully. Interestingly, having never seen an artist perform, Rebecca remained in a fairly rigid position for her playing. So, conversely, after feeling my arm and shoulder at work as I demonstrated playing for her, she was able to change her breathing and movements to a considerable degree. Initially, I did harbor some concern over correct bow placement on the viola. Without the benefit of seeing where the bow was placed on the strings, Rebecca did lose some ori entation. Once again I physically placed my bow as a guide while she was playing, and within a short time she was firmly grounded in where she needed to be for proper placement and sound. As time progressed and Rebecca and I became accustomed to work ing together, my curiosity increased as to what exactly her thought

processes were as she learned new music. I could not imagine how she proceeds through difficult pas sages and myriads of notes without seeing them. As we discussed this, I discovered that learning a new piece of music for her is quite dif ferent than the manner in which a sighted person might approach a work. Rebecca states that she sees music for what it is, the sounds and the rhythms, and not through the "middle man" of print music. Her attention is totally focused on listening rather than on visually attempting to interpret the notes on a piece of paper and play them simultaneously. Without the dis traction of reading music, she is able to totally focus on tone, pitch, and dynamics. Unlike many blind musicians who prefer to perform as soloists, Rebecca soon expressed an interest in playing with a full orchestra in addition to solo work. She audi tioned and won a chair in the

Heritage Insurance services

1/4 page

V OLUME 24 NUMBER 2 53