Notedysleksi

Music teachers sometimes come across students that consistently skip notes, don’t keep to the time values, add their own rhythms and find it hard or impossible to keep in time or maintain a steady pulse.

You might be tempted to write it off as disinterest, lack of talent or being disorganized, and you may be right, but there are times you will feel like the student really is doing his or her best and is struggling with something else.

Some research has been done into what is referred to as musical dyslexia, a learning ability that occurs as a result of the brain being unable to process musical symbols, even when the person has had proper training in reading music. This definition has simply been lifted off the definition for dyslexia, except for dyslexia, the brain is unable to process written words.

This book presents an exploration of the intersection between music and dyslexia, collating insights from various contributors on how educators and practitioners can leverage music as a beneficial tool for dyslexic individuals. With a positive focus on the strengths and unique characteristics of dyslexics, the text emphasizes strategies for effective teaching and engagement in music, alongside practical examples and case studies. The chapters cover a range of topics, from classroom strategies to the neurological and cognitive aspects related to music and dyslexia, ultimately arguing for a more inclusive approach in music education.

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.

Dyslexia is the most common learning disability in the United States, affecting approximately one in five individuals. According to the DSM-V-TR, the ICD-11, and the International Dyslexia Association, dyslexia is a Specific Learning Disorder that causes issues with phonological processing, sequencing of information and information processing, word recognition, reading fluency, and other issues. Due to its prevalence, the chances of piano teachers encountering a student with dyslexia in their teaching studios is highly likely. However, there is relatively little research available for piano teachers of students with dyslexia. In the music lesson, common areas of struggle for students with dyslexia include but are not limited to music reading, rhythm, visual-tracking of lines and systems, confusion between the right and left hemispheres of the body, weaknesses in short-term memory (i.e. remembering the accidentals within the key signature) and memorization. The purpose of this study is to provide a much-needed guide to teaching music reading to students with dyslexia from the perspective of a dyslexic pianist and teacher of dyslexic pianists. Included is an explanation of the neurological processes within the brain of a dyslexic individual and how they differ from the neurotypical brain when reading. This document addresses practical strategies for teaching music reading to pianists with dyslexia, and includes adaptive teaching solutions to some of the most commonly encountered challenges. The author’s personal experience, as well as information from student vignettes are both important resources. vii Some proposed strategies for success include sound-before-sight instruction, frequent demonstration, multisensory techniques, supplementary flashcard practice for the memory of short “sight-rhythms,” explicitly clear communication, introducing new concepts within the context of previously learned material, intentional vocabulary, enlarging the score, strength-based teaching, discovery-learning, incorporation of directive words, and many more. It is the intention of the study author that this resource will contribute to the literature in a way that will make piano study more attainable for students both with and without dyslexia.