The Role of Music in Deaf Culture: Implications for Music Educators

https://www.jstor.org/stable/3345402?seq=1#metadata_info_tab_contents
APA Citation information:
Darrow, A. (1993). The Role of Music in Deaf Culture: Implications for Music Educators. Journal of
Research in Music Education,41(2), 93-110. Retrieved from http://www.jstor.org/stable/3345402

Purpose of the Study: The purpose of this study is to examine the role of music in the
deaf culture and relate the findings to current practices in music education for hearing-
impared students. A secondary purpose includes examining factors that determine deaf
individual’s involvement with music.
Methods and Participants: The data for this research was collected through a
questionnaire sent to a group of randomized deaf Americans from across the United
States, as well as videotaped personal interviews from a group of randomized deaf
Americans in a large midwestern metropolitan area. Participants varied as identifying as
members of the deaf culture, members of the hearing culture, or those that interact
within both cultures.
Key Findings: After conducting this research, there were six major findings that
occurred. One is that cultural identification is a strong influential factor in a deaf
individual’s music involvement. Along with this, family involvement with music can be
one factor to a deaf individual’s relationship to music. The second key finding says that
deaf individuals that do involve themselves in music, do so similar to people who are
hearing. The research also determined that music activities most enjoyed in the deaf
community include singing or signing songs, listening to music, and moving or dancing
to it as well. Most of the participants also believed that music education should be
optional for deaf students, and that deaf individuals do not participate in the same way
with music as hearing individuals do.
Discussion Points: Some interesting discussion points in this article in particular include
how a music educator can approach music from the perspective of someone who is
deaf or hard of hearing. A main question arises after reading this article, should people
who identify as being in the deaf community be forced to learn music like they would
math or english? Lastly, in what ways can music educators accommodate the
classroom, and relate to students who are deaf.
Your Comments/Questions: I chose this article in particular due to its intended audience,
the music educator. I conducted this research in total in order to be better educated as a
future teacher, which is the overall goal of this article.

The Role of Music in Deaf Culture: Deaf Students' Perception of Emotion in Music

https://academic.oup.com/jmt/article/43/1/2/906657
APA Citation information:
Alice-Ann Darrow, The Role of Music in Deaf Culture: Deaf Students' Perception of Emotion in
Music, Journal of Music Therapy, Volume 43, Issue 1, Spring 2006, Pages 2–15,
https://doi.org/10.1093/jmt/43.1.2

Purpose of the Study: The primary purpose is to understand the musical perspective of
emotion of a student with hearing loss, who associates with the deaf culture, in
comparison to a student without hearing loss.
Methods and Participants: The participants consisted of sixty-two elementary and junior
high school students at a state school for the deaf, as well as students at neighboring
elementary and junior high schools in the hearing community. The students at the deaf
school had hearing losses ranging from moderate to severe, however identify as being
a part of the deaf or hard of hearing community. In the study, twelve scores, designed to
bring out emotions such as fear, happiness, and sadness, were played for each group
of people.
Key Findings: It is important to note that there was little to no difference in findings in
accordance to age or gender. Instead, the significant differences were found between
the deaf student’s responses, and the hearing student’s responses. The participants
who were hearing more commonly agreed and lined up with the composer’s intent. The
study then found that the deaf participants responses indicate that timbre, texture, and
rhythm are the most influential music elements when determining intended emotion.
Discussion Points: This article easily correlates the struggle deaf or hard of hearing
individuals face with music interpretation. It is the job of a music educator to determine
appropriate adaptive strategies for students who are not fully hearing. One thing a
teacher can do is bring out the base, or rhythm, for the student to feel the vibrations in
the piece.
Your Comments/Questions: I am interested in what differences may be seen if this study
was conducted country or world wide. The music examples would likely have to be
changed, due to varying cultures, however the benefit that results is the opportunity to
better understand how different regions of the deaf community react to music.

The Effect of an Interactive Experience on Music Major’s Perceptions of Music for

Deaf Students

https://academic.oup.com/jmt/article/37/3/222/898474
APA Citation information:
Keith A. Kaiser, Krista E. Johnson, The Effect of an Interactive Experience on Music Majors'
Perceptions of Music for Deaf Students, Journal of Music Therapy, Volume 37, Issue 3, Fall 2000,
Pages 222–234, https://doi.org/10.1093/jmt/37.3.222

Purpose of the Study: This study differs in its intended audience, college students
majoring in music. It examined music major’s perceptions of music experiences for deaf
students, by asking the groups to participate in social, musical and educational
interactions.
Methods and Participants: Twenty-three members of a college brass band, where each
individual majored in music, gave a one hour interactive concert and presentation for
ten deaf elementary aged children. The college students were given a pretest, followed
by a posttest after the event occurred. The tests asked about the music major’s
comfortability and perceptions on provided deaf children with music experiences.
Key Findings: The most significant finding includes the music major’s comfort level and
belief of readiness to teach a student who is deaf, after the event took place. Nearly
every college student felt uneasy and not well enough prepared at first, as shown in the
pretest, however discovered that they knew more and were more well prepared than
they originally had thought. Open comments at the end of each test revealed that
participants thought the experience was a positive one, which increased their
knowledge and perception of music for deaf students. It also helped them to better
relate to the deaf population, promote interest in similar experiences, and finally, a belief
that future music educators should have similar experiences previous to teaching.
Discussion Points: The deaf community is very similar to the hearing community in
ability, age and other factors. Communication with the deaf community can be easier
than one may think.
Your Comments/Questions: I chose this article due to the fact that it's a different
approach from many others I found. It focused on a music major’s current ability, and
the simplicity in interacting with music with members of the deaf community.

The Illinois School for the Deaf Band: A Historical Perspective

https://academic.oup.com/jmt/article-abstract/28/1/23/945435
APA Citation information:
Alice-Ann Darrow, Kate Gfeller, A Study of Public School Music Programs Mainstreaming Hearing
Impaired Students, Journal of Music Therapy, Volume 28, Issue 1, Spring 1991, Pages 23–39,
https://doi.org/10.1093/jmt/28.1.23

Purpose of the Study: The purposes of this study included examining the status of
public school music instruction for hearing impaired students, as well as examining the
factors that contribute to the successful mainstreaming of hearing impaired students in
the regular music classroom.
Methods and Participants: In order to conduct this research, a questionnaire was
developed and sent to public school music educators. The questionnaire consisted of
questions regarding demographic information, educational approach, extent of
instruction, administrative support, both musical and non musical goals set by music
educators, and questions regarding mainstreaming students who are hearing impaired.
Some of the questions about mainstreaming include factors related to successful
mainstreaming, obstructions to main-streaming, and activities and curricula successfully
implemented in mainstreaming programs.
Key Findings: The results of this study revealed that more than half of all hearing
impaired students attend regular music classes, and of the students not mainstreamed,
less than half receive no music education at all. Many music educators are not truly
prepared for teaching hearing impaired students, and important instructional or
administrative support is often not available. Some factors that contribute to a poor
mainstreaming process include lack of appropriate curricula and poor communication
with other professionals. Out of the music educators that responded to the
questionnaire, only thirty five percent reported that their objectives are the same for their
hearing and hearing impaired students.
Discussion Points: The study found that teachers lack the ability to properly adjust to the
needs of students with hearing impairment. This may be due to a lack of communication
with other professionals, or a lack of overall knowledge in the field of Music Education in
methods and resources for students who are hearing impaired.
Your Comments/Questions: This article highlights what music education for students
with hearing impairment currently looks like, with disadvantages highlighted.

An Investigative Study: The Effect of Hearing Impairment on Musical

Aptitude
https://academic.oup.com/jmt/article-abstract/24/2/88/1175715
APA Citation information:
Alice-Ann Darrow, An Investigative Study: The Effect of Hearing Impairment on Musical Aptitude,
Journal of Music Therapy, Volume 24, Issue 2, Summer 1987, Pages 88–96,
https://doi.org/10.1093/jmt/24.2.88

Purpose of the Study: This study investigates the way in which hearing impaired
children perceive tonal and rhythmic music, due to the lack of attention previously given
to the study of music perception and the hearing impaired.
Methods and Participants: A music aptitude test for young children, called the primary
Measures of Music Audiation (PMMA) was given and individually administered to twenty
eight hearing impaired children in grades first through third. The test was given through
a portable audiometer at thirty five decibels above the subject’s speech reception
threshold.
Key Findings: The data were analysed in standard deviations, test reliability, standard
error of measurement and standard error of a difference representing hearing children
and those of the hearing impaired sample. The findings included that being hearing
impaired may adversely affect music perception, and therefore, musical aptitude.
Regardless of this, the study clarifies that hearing impaired children should not be
excluded from participation in music education activities.
Discussion Points: Musical aptitude is considered to be less likely due to different music
perception, what would musical aptitude look like for someone in the deaf community?
Could musical aptitude look different, but still include the understanding and
comprehension of musical traits?
Your Comments/Questions: This article was chosen due to it being “straight to the
point”. The main finding in this study included the hearing impaired children were found
to have below average music perception. Although this is important to recognize as a
music educator, I think it is worth noting that the children tested were found to be below
average in the music perception of a hearing child. This study, although useful in many
aspects, does not consider a different way to experience music, as hearing impaired
and deaf individuals do, through vibrations.

Music and Deaf Culture: Images from the Media and Their Interpretation by
Deaf and Hearing Students
https://academic.oup.com/jmt/article/36/2/88/908432
APA Citation information:
Alice-Ann Darrow, Diane Merchant Loomis, Music and Deaf Culture: Images from the Media and
Their Interpretation by Deaf and Hearing Students, Journal of Music Therapy, Volume 36, Issue 2,
Summer 1999, Pages 88–109, https://doi.org/10.1093/jmt/36.2.88

Purpose of the Study: This study consisted of three main purposes that include,
examining how the visual media have portrayed the subject of music and the deaf,
verify the validity of these portrayals with members of the deaf community, and compare
and contrast deaf and hearing audiences’ impressions of these portrayals. An additional
purpose includes comparing results to misconceptions of music educators and music
therapists.
Methods and Participants: The participants included fifty undergraduate college
students, twenty-five of which were deaf and the other twenty-five were hearing. These
participants each individually viewed motion picture and television excerpts related to
music and the deaf, and took notes including the content of each excerpt and their
impressions. Afterward, each participant was interviewed in their own language,
consisting of English and American Sign Language, and answers were analyzed for
recurring themes and patterns.
Key Findings: There were many similarities in answers between the two groups,
including descriptive statements of what was occuring, positive and negative
impressions, and sympathy or concerns of pity. One of the main differences between
the groups include the deaf participants were more sensitive to the sympathy and pity
being shown in the examples, while hearing participants often expressed their own pity
for the deaf actors in the examples.
Discussion Points: This article made me reflect on my own biases or misunderstandings
of music in the deaf community, and how the topic is portrayed in media.
Your Comments/Questions: I particularly appreciated the aspect of this study that
included comparing and examining music educators and music therapist’s
misconceptions, since they are the most likely fields to work with both the deaf
population and music.