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Alison OBryan

MUS 150
October 27, 2015

Alice-Ann Darrows The Role of Music in Deaf Culture: Implications for Music
Educators (Summer, 1993) has allowed me to think differently about how I will handle future
students with aural disabilities learning music, as within the text there were many studies
conducted. The goal of the publication was to evaluate how prevalent music is within deaf
culture, and whether it is received in a positive or negative way within the community. From the
journal, it was found that those who identified themselves within the deaf community received
the lowest amount of music classes, while those who felt they were integrated within the hearing
community received the highest.
Because of these conclusions, I have found a greater desire and interest in gathering more
interest from the deaf community towards music. While there is some participation, it seems a
waste that students with the potential to make music currently are not due to their disability.
Understanding vibrations, frequency, and sheet music can allow a deaf individual to compose
and make music as well as any hearing counterpart. This reading has changed the way that I
would think of teaching in a class if an individual were deaf. More research can be done in the
development of deaf-friendly music equipment, but already amplification tools are utilized
within the deaf musicians world. I would approach teaching music in terms of vibrations and
pitch frequencies, and this would be beneficial for hearing students as well. Music is sound
waves, and by introducing to an entire classroom the scientific concepts of sound, even those
with aural disabilities can participate and learn what it means to make music.

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