ASASA Discussion Document.

Sibelius Software and Problems of handwriting music, including alignment, for dyslexic students.

This page is an edited version of a document prepared by Sally Daunt B.Ed (Music/Education), ATCL. Study Skills/dyslexia/learning support tutor. Sally Daunt works at the University of Manchester (School of Arts, Histories and Cultures) under the auspices of Access Summit, at the Liverpool Institute for Performing Arts and other institutions of HE. She taught A Level music for over 30 years and is a pianist, horn player, conductor and a former member of the Royal Liverpool Philharmonic Choir. She is an A Level examiner for OCR in Performance Studies.

Contents.

Problems of handwriting music, including alignment, for dyslexic students. Tutors view.
Problems of alignment in the writing of music for dyslexic people. Student View.
Example of Wording for Sibelius Recommendation

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Problems of handwriting music, including alignment, for dyslexic students. Tutors view.

Summary:

There can be severe problems with the handwriting of music for dyslexic students, including the alignment of work over multiple staves.
There are various reasons for this, which are recognised by dyslexia specialists. These include related visual problems and dyspraxia (see below).
These problems cannot be alleviated by the access of study skills support and it may not always be appropriate to use ICT.
It is suggested that HEIs, makes some allowances in the marking of work which includes handwritten music, both in examinations and assignments ... An outline of suggested strategies for dealing with these problems is given below and supporting detail in the rest of this paper.

Strategies that may be implemented to help:

Make allowances for some 'messiness', poor formation of notes and alignment in the marking of handwritten music by dyslexic students
Allow the use of large MS
Allow the use of off-white MS
Allow the use of coloured pens for notation
Allow the use of acetates over MS to mark aligned sections in analysis
Allow extra time for assignments and examination work
Consider the use of an amanuensis (in some cases)

Written instructions (for assignments and examinations) should:

Use sans-serif font (e.g. Tahoma or Arial)
Avoid underlining and italics
Use at least 1.5 spacing
Avoid long blocks of continuous prose

In examinations

Avoid rooms with fluorescent lighting. Use natural light if possible.

The issues:

Handwriting: It is recognised ... that problems of handwriting may be an issue for dyslexic students. Allowances have been made for this in assignment work, and will continue to be made in examinations.¹ Such problems cannot be "solved" by the access of study skills support. Such problems are widely documented in books on dyslexia and 'badly formed letters that are not always on the line' is one of a range of difficulties that are signs of dyslexia.² There are often mentions of 'messiness' in the work of dyslexic people.³ Dysgraphia or severe problems with handwriting is a recognised feature of some dyslexic people.⁴
The hand-writing of music will also be affected and it is likely that this will be to an even greater extent than the writing of words because of the very precise nature of music notation. There is little latitude for inaccuracy. Alignment can be a particular problem. The ABRSM allows dyslexic students in the higher grade theory exams to ignore the rubric to 'copy out a given fragment without penalty.⁵
Handwritten music notation may be required outside of examination situations in situations where music notation software (such as Sibelius) may not be adequate. Examples include the various approaches to music analysis, and in particular the notation of Schenkerian and paradigmatic analysis.

References.

¹University of Manchester "dyslexia sticker" as at June 2005: This student has Specific Learning Difficulties (dyslexia, dyspraxia etc). Please make allowances for... handwriting ... when marking this piece of work'.

² Shaffi, Dream, Plan, Achieve, Liverpool John Moore's University guide for academic and support staff relating to the support of students with dyslexia, (2001), 7 "Identifying signs of Dyslexia in Students.'

³ Kiziewicz, 'Dyslexia: Lived experience and learner support' in DfES, Working with Dyslexic Students in Higher Education, (2004), 29

⁴ De Montfort University Glossary of words used in documents about dyslexia, (2004),

⁵ Hubicki, 'Provision for Dyslexic Musicians' in Music and Dyslexia: Cambridge Conference Proceedings, (1992) 38

Reasons and evidence for the problem:
Visual problems: The majority of people who are dyslexic will experience some visual difficulties'.⁶ This may include binocular instability and visual distortion of print. Such problems may affect the way in which students write by hand. 'Research carried out at the University of Aston in Birmingham, and the Institute of Optometry in London by Dr Bruce Evans, has shown that young people showing SRD (Specific Reading Difficulties, also known as Dyslexia) have a higher incidence of certain visual problems than normal readers.'⁷ There are also 'problems with visual short term memory which may cause the dyslexic to "lose his place", for example.'⁸ The student affected may find the glare of music lines on white paper dazzling, and they may appear to fuse together.⁹ The print may appear to move and there may be difficulty judging distances.¹⁰ This can manifest itself in the reading and writing of music notation, including the alignment of multiple staves. Oglethorpe states that 'focusing on the score is hard' for music students.¹¹Additionally, the 'visual anomaly known as 'cogwheeling' in which the eyes 'seem to stick', can be triggered by bar lines.¹²

References

⁶ Evans, Dyslexia and Vision (2001)

⁷ Griffin, Dyslexia and Specific Reading difficulties, (2005)

⁸ Reeves, Potential Links between Dyslexia and Musical Ability (2002)

⁹ Howard, Teaching Music to Children with Dyslexic and Dyspraxic Difficulties, (2004), OHP 41

¹⁰ Ibid OHP 46 and 48

¹¹ Oglethorpe, 'Climbing mountains: helping the dyslexic pupil' in Libretto, (2004), 10

¹² Oglethorpe, Instrumental music for dyslexies, (2002), 58

Dyspraxia: Many dyslexic students are also dyspraxic. This is 'a delay or disorder of the planning and/or execution of complex movements.'¹³ It is also referred to as DCD or Developmental Co-ordination Disorder, which specifically relates to an impairment of controlled execution of movement.¹⁴ A probable cerebellar abnormality leads 'to a ... deficit, affecting ... fine motor control'.¹⁵ This disorder in motor co-ordination can affect writing, alignment and difficulty in using rulers and can give a tendency to 'messy' work. It also causes such tasks to be 'very demanding and tiring'.¹⁶ Both dyslexia and dyspraxia lead to 'poor presentation (including) layout of work on page ... (and) judgement of distance (which) affects ... distance between notes.'¹⁷Additionally 'spatial and visual perception problems may affect... lay-out of work on the page'.¹⁸ The dyslexic with fine motor problems stemming from a deficit in his spatial aptitude is probably going to have difficulty with spacing the notes out evenly.'¹⁹

Dyspraxia and Dysgraphia are not always mentioned in a student's Educational Psychologist Report in detail, and thus not in his/her Assessment of Needs which is available to teaching staff at the University. The only mention may be of 'poorly formed handwriting' and the ramifications of this for the student's work are often not explored as it is assumed that all work

can be done on word processors. In some cases a recommendation that a student use a work processor in examinations is made to the University.

Relevance to the writing of music

The relevance of this to the writing of music is virtually never touched upon as it is such a specialist area and one which most Educational Psychologists will not think to follow up.

References.

¹¹³ De Montfort University Glossary of words used in documents about dyslexia (2004)

¹⁴ Howard, Teaching Music to Children with Dyslexic and Dyspraxic Difficulties, (2004), OHP 10

¹⁵ Nicolson & Fawcett, Developmental Dyslexia: The Role of the Cerebellum, 155-177 (1999)
⁶ Tutor's summary of Conference on Dyspraxia, May 2004. Further details unavailable

¹⁷ Howard, Teaching Music to Children with Dyslexic and Dyspraxic Difficulties, (2004), OHP 20

¹⁸ Ibid OHP 31

¹⁹ Oglethorpe, Instrumental music for dyslexies, (2002), 126

However, it is a very real problem. Sheila Oglethorpe, author of Instrumental Music for Dyslexics, comments that 'my own experience of teaching (music) theory to dyslexic children is that (difficulty with alignment) is often a contributory factor in their difficulties.'²⁰ Specifically difficulties may occur in the alignment of music on staves, Where there is more than one stave the problems are greatly exacerbated. Even with the use of rulers, students may produce work which looks 'scruffy' and in which the alignment is poor. Spacing of notes is a problem, as are the clear writing of stems and beams. Problems may remain after many hours of careful work and much erasing - which itself causes cumulative problems in presentation. This affects both assignments and examinations. Oglethorpe states that 'Dyslexics who are having trouble with the orientation of bs and ds, and ps and qs, may have the same trouble with the stems of notes.'²¹ There are many references to visual problems of dyslexia and the notation of music in her book, Instrumental Music for Dyslexics: A teaching handbook.

Additionally:

All such work may be a very great deal more time consuming than for the non-dyslexic student.
Work may lead to high levels of anxiety as the 'imperfect' (perhaps messy) result may not equate to the student's ideal.

References.
²⁰ Oglethorpe, email to Sally Daunt, ll"¹ March 2005

²¹ Oglethorpe, Instrumental Music for Dyslexies, 2002, 126.

Bibliography

De Montfort University, Glossary of words used in documents about dyslexia www.dmu.ac.uk/study/student_services/slas/dyslexia/glossary (visited 20.06.04)

Evans, BJ.W., Dyslexia and Vision, London, 2001.

Griffin John Dyslexia and Specific Reading difficulties unpublished leaflet available from John Weygang Optometrists, 31 Morley Ave, Churchdown, Glos.

and www.weygang.co.uk (2005).

Howard, Mary, Teaching Music to children with Dyslexic and Dyspraxic difficulties OHP notes from course at the 3D Centre, Halifax, 18^th October 2004.

Hubicki, Margaret, 'Provision for Dyslexic Musicians' in: Music and Dyslexia: Cambridge Conference Proceedings, 38 - 44. ed Miles, T.R & Augur, Jean.

Reading, 1992.

Kiziewicz, Mo, 'Dyslexia: Lived experience and learner support' in: DfES, Working with Dyslexic Students in Higher Education, 29. Leicester, 2004).

Nicolson, R.I. & Fawcett, A.J., 'Developmental Dyslexia: The Role of the Cerebellum' in: Dyslexia 5.

Oglethorpe, Sheila, 'Climbing mountains: helping the dyslexic pupil' in: Libretto Issue 2004:2, 9-11. London, 2004.

Oglethorpe, Sheila, Instrumental music for dyslexics: a teaching handbook, London, 2^nd ed 2002.

Reeves, Rosemary, Potential Links between Dyslexia and Musical Ability: A Review, unpublished paper for Postgraduate Certifícate in Specific Learning

Difficulties, Manchester Metropolitan University, 2002.

Shaffi, Surya, Dream, Plan, Achieve: Liverpool John Moore's University guide for academic and support staff relating to the support of students with dyslexia, John Moore's University, 2001.

Problems of alignment in the writing of music for dyslexic people. Student View.

The problem is one encountered by music students/musicians who are dyslexic. Because, perhaps, of related visual problems including eye movement, there may be very real difficulties in the writing of music. Specifically difficulties may occur in the alignment of music on staves. Where there is more than one stave, as in piano or organ music, music for solo and accompaniment, music for instrumental or vocal groups or orchestra, or music written for analytical purposes such as the multi-stave Schenkerian layout, the problems are greatly exacerbated. Even with the use of rulers, students may produce work which looks "scruffy" and in which the alignment is poor. Spacing of notes is a problem, as are the writing of stems and beams clearly. Problems may remain after many hours of careful work and much erasing - which itself causes cumulative problems in presentation. Dyslexic students often have to put in at least twice as much time on a piece of written work as others. Correct alignment and presentation in examinations is also a problem.

Staff involved in the marking of such assignments and examination work, are asked to take this into account in the same way that spelling, punctuation, grammar and/or organisation may be taken into account when marking a piece of work by a student with known SpLD, especially dyslexia.

Evidence:

• Sheila Oglethorpe, author of Instrumental Music for Dyslexics - a teaching
handbook(2^nd Ed, 2002, London: Whurr) comments in an email (to SD) that "my
own experience of teaching (music) theory to dyslexic children is that it is often a
contributory factor in their difficulties."

In the book mentioned above, Oglethorpe states:

• "Dyslexies who are having trouble with the orientation of bs and ds, and ps and qs, may have the same trouble with the stems of notes." (2002, pl26)

"The dyslexic with fine motor problems stemming from a deficit in his spatial aptitude is probably going to have difficulty with spacing the notes out evenly." (2002, pl26)
"Dyslexies ...may also find it difficult...constantly adjusting their focus from one place to another (on a piece of music). Copying on an examination paper is, for them, a cruel question. For non-dyslexics it is easy, for dyslexics with visual memory difficulties it is definitely not" (2002, pl26)
There is much "fear (in) the ominous dictum in examination papers: 'Marks will be given for neatness and accuracy"' (2002, pl26)
"In addition to the equidistant and continuous lines of the stave, there are several other lines that occur on any page of music. Some of these can cause a problem for anyone with an unreliable eye/brain relationship." (2002, p 57)
"In addition to the possibility of poor binocular control, it has been suggested that some dyslexies are prone to a visual anomaly known as 'cogwheeiing' (Adler-Grinberg and Stark, (1978) Eye movements, scan paths and dyslexia. American Journal of Optometry and Physiological Optics 55: 557 - 70). Instead of progressing smoothly from target to target, their eyes seem to 'stick' and then have to make rapid bounds (saccades) to catch up. Bar lines can act as catalysts for cogwheeiing, creating a barrier between one beat and the next, which can seriously disrupt the flow of the music." (2002, p58)
With regard to the handling/reading of stave lines, beams and so on "what would appear to need very little visual agility for a non-dyslexic assumes much greater proportions for a pupil whose visual processing is impaired." (2002, p60)
"Tracking from system to system is not without its problems, and it is also quite common for a dyslexic to jump systems halfway across the page." (2002, p68)
Another problem is that music has to be written on white manuscript paper with black pencil or pen, so the common problems for dyslexic people associated with the reading of black on white cannot be eased except for wearers of tinted glasses.
Michael Thomson's book, Developmental Dyslexia, 3^rd Ed, 1990. Pub? p95 gives a fairly exhaustive section on eye movements with the latest research (at that time).
Jon Griffen at John Weygang Optometrists in Gloucester has written a booklet which mentions visual correlates to dyslexia, based on research by Dr Bruce Evans at the University of Aston (Birmingham) and the Institute of Optometry (London). This suggests that our eyes must have the ability to change focus rapidly and at the same time to fuse the image of each eye to a single representation in the brain. These two processes are closely linked.

Example of Wording for Sibelius Recommendation

Because of his/her Dyslexia, (student name) experiences specific problems in the area of sight-reading and composition. Just as it takes him/her much longer to read complex texts, assimilate content, and translate his/her thoughts and ideas into text, so (student name)'s Dyslexia affects the speed and accuracy at which he/she can sight-read, assimilate fresh pieces of music and master the mechanics of a new musical score. A dyslexic music student frequently finds it difficult to set out a musical score in an acceptable and legible format. Musical notation needs to be very precise and there is little latitude for inaccuracy. Sibelius Music Software is recommended. This program will help (student name) to decode and re-produce musical notation and will help remove much of the stress that a dyslexic music student can experience. There is only limited access to this program within (student namej's college and certainly not on the extended basis which (student name) needs because of his/her Dyslexia; therefore it is recommended that it be installed on (student name)'s computer.