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.
List of contributors.
Section I. Tackling problems.
1. Dyslexia and Developmental differences (T. R. Miles).
2. Things that can go wrong (T.R. Miles).
Section II. In and around the classroom.
3. In and around the classroom (Christine McRitchie Pratt).
4. Classroom rhythm games for literacy support (Katie Overy).
5. Early years: Deirdre starts to learn piano (Olivia McCarthy and Diana Ditchfield).
6. Winning over the reluctants (Christine McRitchie Pratt, Diana Ditchfield, Sheila Oglethorpe and John Westcombe).
7. Can music lessons help the dyslexic learner? (Sheila Oglethorpe).
8. Parallels between the teaching of musical and mathematical notation (Tim Miles).
9. The paperwork (Diana Ditchfield).
10. Sight–reading (Sheila Oglethorpe).
11. Sight–reading and memory (Michael Lea).
12. Ten top tips and thoughts (Nigel Clarke).
13. Can computers help? Matching the inner with the outer ear (Adam Apostoli).
Section III. Strategies and successes.
14. Positive connections across the generations (Annemarie Sand and John Westcombe).
15. Similarities and differences in the dyslexic voice (Paula Bishop–Liebler).
16. Thirty–seven oboists (Carolyn King).
17. Suzuki benefits for children with dyslexia (Jenny Macmillan).
18. Dyslexia: no problem (Diana Ditchfield).
Section IV. Science takes us forward.
19. Insights from brain imaging (Katie Overy).
20. Music reading: a cognitive neuroscience approach (Lauren Stewart).
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.