News
June 2009
The presentations from our Online conference in November 2008 are now available in English and French.
Susan Wriglesworth reviews two books about music and dyslexia.
Brief report about AGM
Dyslexia: Neuroscience and cognitive psychology
With the support of the Microsoft Schools Technology Innovation Center, Brussels, Dyslexia International ran an Online conference in November 2008. Using ‘Microsoft Live Meeting’, we linked up three speakers, from Paris, Brussels and Oxford. The conference attracted interest from Europe, Asia and North America.
Professor Stanislas Dehaene from France, author of ‘Les neurones de la lecture’, talked about ‘the brain changes induced by learning to read’ as a recent cultural innovation rather than an evolutionary adaptation.
Professor José Morais from Belgium talked about neurolinguistics, refining what we mean by ‘dyslexia’, its various manifestations, and its possible remediation.
Professor John Stein from the United Kingdom, presented his team’s findings on the neuro-physiological causes of certain forms of reading difficulties.
The presentations, in English and French, can be found here.
Music and dyslexia
Susan Wriglesworth, Associate Member of the British Dyslexia Association, reviews two books: ‘Music
and Dyslexia: Opening New Doors’ and
‘Music and Dyslexia: A Positive Approach’.
Both books are a wonderfully enthusiastic and inspiring collection of essays. The contributors include eminent university lecturers; university students; professional musicians, some who are dyslexic and describe their struggles, strategies and successes experienced on their musical journey, and some practitioners who have taught music. Several are members of the Music Committee of the British Dyslexia Association.
‘Music and Dyslexia: Opening New Doors’
Baroness Warnock has written in her foreword that this book is both a tribute to the courage and determination
of musicians; but it also opens our eyes to what it is actually like to be dyslexic.
Professor Tim Miles gives a very clear description of dyslexia, its biological basis and its effect on daily living. As a keen but amateur cellist, he was sensitive to the effects of dyslexia on learning to play an instrument. John Westcombe then describes in more detail the difficulties that may be encountered, with suggested strategies to help.
I was encouraged to hear that during their training examiners are made aware of the type of difficulties that may affect some students, and how to put all candidates at ease.
There are many moving stories of courage, sustained effort and the sheer hard work and determination of both instrumentalists and singers to develop strategies to become professional musicians. Some became successful despite the obstacles put in their way by unsympathetic adults. Some had teachers who were encouraging and who endeavoured to be flexible in their approach, teaching the student in the way they learnt. Sadly, there are also stories from many older dyslexics who were musical, but not so lucky with their teachers or situation, and so were unsuccessful.
It is very encouraging to hear from Margaret Hubicki that almost certainly there will be provision made for dyslexic music students in Britain’s music conservatoires. No student should feel that they would be disadvantaged if they let it be known that they are dyslexic.
Margaret Hubicki was for many years Professor of Harmony and Composition at the Royal Academy of Music in London. Not long after she had begun to take piano lessons her teacher declared to her parents, ‘I don’t think we’re going to get anywhere with this child’. Apparently, Margaret had assumed that the black and white notes on the piano represented the black and white marks on the musical score! Once this confusion had been sorted out her progress was rapid. She hit upon the idea of using colour to help some of her students who were having difficulty learning musical notation. She describes this set of materials, which she called Colour Staff, and makes it clear that this multisensory kit can be used with students of all ages, and at all stages of proficiency.
It is clear that if children are musical, they should be encouraged, despite the difficulties they will encounter. However, it is sobering to read how ambition and hope can be inspired or destroyed.
The essentials are early detection, flexible teaching with a touch of inspiration, and a step-by-step approach.
‘Music and Dyslexia: A Positive Approach’
This sequel is divided into four sections: ‘Tackling Problems, In and Around the Classroom, Strategies and
Successes, and Science Takes us Forward’.
Tim Miles opens with a clear introduction to the main characteristics of dyslexia, followed by a description of the potentially embarrassing situations to which dyslexics are vulnerable. He draws our attention to other differences because there can be co-morbidity: more than one diagnostic description may be applicable, for example some dyslexics are also dyspraxic. He prefers the term ‘neurodiversity’, which neatly describes these differences that can be either an advantage or a disadvantage. At the same time, he stresses that the abilities of those showing developmental differences should not be underestimated. He stresses that a correct diagnostic label is essential in order to help the person, bearing in mind that their needs may be different. And it’s worth remembering the mother quoted here, ‘My son prefers the label “dyslexic” to “dumbo”. ’
There is a wealth of practical advice on sight-reading from Sheila Oglethorpe, who also wrote the excellent book, ‘Instrumental Music for Dyslexics’. The rhythm games described by Kate Overy can be taught by non-specialists and used with all children. The activities appear to improve literacy skills. The suggestions for appropriate teaching are familiar to those working with dyslexics. They include flexibility, being sensitive to an individual learning style, working in partnership, breaking tasks into achievable targets, overlearning, using games and mnemonics, using colour and multisensory teaching.
There are case studies describing how dyslexic students found confidence, improved self-esteem, and whose lives were changed by learning an instrument or learning to sing. Parallels are drawn between literacy and musical and mathematical notation; it takes more time and effort to learn the name of a symbol, whether it is a letter, note or number, and each to be introduced gradually.
For some dyslexic students, theory is a stressful hurdle that seems fraught with traps. Diane Ditchfield gives an excellent description of some of the pitfalls and advice on sensitive, cumulative, multisensory teaching. The foundations and each layer of bricks in a wall must be firmly established. There is practical advice on sight-reading and memorising both of which are required in exams, and are sometimes difficult for dyslexic pupils.
A music student and Nigel Clarke, who is a successful composer, both of whom are dyslexic, give accounts of the computer support software ‘Sibelius’. This is a musical-processing system which a musical version of a word processor with playback. It enables talented dyslexics to circumvent the laborious process of writing and rewriting a score that could destroy the creative process.
The final section discusses some of the latest neurological research on the aural basis of musical processing. There is increasing evidence that music and language share certain neural resources, and that musical training improves auditory processing and language development. This could be a valuable language support tool for dyslexia and other literacy difficulties.
Musicians describe how they handle their dyslexia so that it no longer stands in their way and how they have used the positive aspects. I have seen these qualities in my students, who refused to accept defeat, worked extremely hard, and used their strengths to achieve extraordinary successes.
I recommend these two humane, inspiring and immensely practical books. They deserve a place wherever music is taught, and at every level. They would also be helpful to parents and teachers of dyslexics, and to anyone with an interest in learning.
Details
‘Music and Dyslexia: Opening New Doors’
Edited by T.R Miles and John Westcombe
Published: Wiley 2001 ISBN 1 897635 22 2
From 19.65 GBP on Amazon.co.uk
‘Music and Dyslexia: A Positive Approach’
Edited by: Tim Miles, John Westcombe and Diana Ditchfield
Published: Wiley 2008 ISBN: 978 0 470 06558 7
From 14.20 GBP on Amazon.co.uk
Postscript
Sadly, since these books were published, two of the contributors, who were both members of the British Dyslexia Association Music Committee, have died:
Tim Miles, Emeritus Professor of Psychology, University of Bangor, Wales, a pioneer of dyslexia, who was wise, kind and always positive.
Margaret (Peggy) Hubicki, who for many years was a distinguished professor at the Royal Academy of Music, and in addition, using the words of Tim Miles, ‘did more than any other person to increase awareness of the needs of dyslexic musicians’.
Annual General Meeting
The AGM of the Association was held on 12 June at 1 Rue Defacqz, Brussels.
The Annual Report, accounts for 2008 and budget for 2009 were approved and the auditor discharged.
Elected to the Board were Mr Larry Moffett, consultant and specialist in European affairs, and Mr Hugh Terlinden, business analyst. Mr Terlinden had kindly agreed to be the Treasurer following the sad demise in post of Mr Peter Hankey for whom one minute’s silence was observed.
The formal report of the meeting (in French) was sent to the ‘Moniteur belge’ for publication.