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A GUIDE IN THE USE OF MUSIC IN THE
TRAINING AND DEVELOPMENT OF
RUBELLA DEAF-BLIND CHILDREN

presented by

Lucille Jeanne Cormier

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of the requirements for .
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© Copyright by
LUCILLE JEANNE CORMIER

1980

A GUIDE IN THE USE OF MUSIC IN THE
TRAINING AND DEVELOPMENT OF

RUBELLA DEAF-BLIND CHILDREN

BY

Lucille Jeanne Cormier

A THESIS

Submitted to
Michigan State University
in partial fulfillment of the requirements
for the degree of

MASTER OF MUSIC

Department of Music

1980

ABSTRACT

A GUIDE IN THE USE OF MUSIC IN THE
TRAINING AND DEVELOPMENT OF
RUBELLA DEAF-BLIND CHILDREN

BY

Lucille Jeanne Cormier

The purpose of this study is to provide a guide
in the use of music in the training and development of
rubella deaf-blind children. Historical background and
needs of this population are stated. Various curricula
used in educational settings for deaf-blind are
reviewed. Published and unpublished literature provid-
ing information regarding the use of music with deaf-
blind, though limited, is presented for consideration.

The elements of music are shown to be viable
resources in the overall development and training plan
for the severely handicapped rubella deaf-blind child.

A developmental curriculum providing suggestions for

specific musical stimuli, goals, prerequisites, materials
and techniques is the core of this work. Recommendations
for facilitating the application of these techniques are

included. Finally, a summary of results of music therapy

Lucille Jeanne Cormier

sessions already conducted with this pOpulation is
presented, as well as suggestions for further experi-

mental research.

To Cara

whose needs challenged creativity

ii

ACKNOWLEDGMENTS

Special gratitude is extended to the children
who challenged creativity and resourcefulness.

Thank you to the staff at Oak Hill School in
Hartford, Connecticut, and the Michigan School for the
Blind in Lansing, Michigan; to the members of my com-
mittee at Michigan State University, all of whom offered
constructive criticism, encouragement, and support.

I am grateful to Sister Elizabeth Christoff, CND,
who was willing to share her artistic talent.

To my friends and family, please accept my
sincere appreciation for your unfailing patience and

understanding.

iii

Chapter

II.

III.

IV.

TABLE OF CONTENTS

INTRODUCTION . . . . . . . . .

Need for the Study . . . . . .
The Rubella Syndrome . . . . .
Overview . . . . . . . . .

RELATED LITERATURE . . . . . . .

General Curricula for Deaf-Blind
Children . . . . .
Music and the Deaf-Blind . . . .
Diagnostic Evaluation of Deaf—Blind
Children . . . . . . . . .

DEAF-BLIND CHILDREN FOR WHOM THIS IS
INTENDED O O O O C O O C O .

Vibration . . . . . .
Rhythm . . . . . . .
Movement . . . . .
Kinds of Movement . .
Auditory Discrimination
Socialization . . . .
Music--Sensory, Motoric, and

Instrument . . . . . . . .

mo...
0
O

MUSIC FOR USE IN THE TRAINING AND
DEVELOPMENT OF RUBELLA DEAF-BLIND
CH I LDREN O O O O O O O O O 0

Recommendations for Facilitation of
Activities . . . . . . . .
Deve10pmental Music Guide . . . .

RESULTS OF WORK USING MUSIC WITH DEAF-
BLIND CHILDREN . O C O O O O 0

Need for Experimental Research . .

Suggestions for Carrying Out
Experimental Research . . . .

Conclusion . . . . . . . . .

iv

Page

10
12
12
17

19

24
28
28
30

32
34

36

37

39
43
69
71

72
7S

Page

GLOSSARY . . . . . . . . . . . . . . 77
Appendix
A. ASSESSMENT INSTRUMENTS USED WITH
DEAF-BLIND . . . . . . . . . . . 83
B. RESOURCES FOR INSTRUMENTS MENTIONED IN
GUIDE . . . . . . . . . . . . . 86
C. RESOURCES FOR RECORDINGS LISTED . . . . 88
D. RECOMMENDED RECORDINGS . . . . . . . 90
BIBLIOGRAPHY . . . . . . . . . . . . 93

CHAPTER I

INTRODUCTION

The purpose of this study is to provide a guide
in the use of music in the training and develOpment of
rubella deaf—blind children. Experience in the use of
music activities with these children indicates that many
of them can benefit from such a program. This opinion
is supported by professional staff members of deaf-blind
programs in Connecticut and Michigan who have observed
some music therapy sessions and/or the results of these
as recorded on videotape. However, more than a subjec-
tive opinion is necessary to make this theory a sound
one with the intention of serving a larger population.
This study is presented with the hope that these ideas
will be tried, evaluated, used in experimental research

and revised as necessary.

Need for the Study

 

In 1963, there were 68,000 children who were
visually and aurally handicapped enrolled in special

programs in the continental United States. By 1970-1971

the number had increased to 102,000. The latter figure
includes all fifty states.1

A major reason for the increase in deaf-blind
population was the rubella epidemic which occurred
between 1963 and 1965. In 1963, thirty-two states
reported a total of 60,431 rubella cases. In 1965,
thirty-six states reported a total of 100,842 cases.2

As a result of the epidemic in this country, "an
estimated 30,000 children were born with one or more
handicaps including visual impairment, hearing impair-
ment, mental retardation and a variety of other physical
disabilities."3

According to various sources, between 5,000 and
8,000 infants were born with varying degrees of hearing
and vision impairment, known as deaf-blind. It is
estimated that at least 140 infants diagnosed as rubella

deaf-blind are born in each non-epidemic year. Numeri-

cal discrepancies are probably due to the fact that many

 

10.8. Bureau of the Census, Statistical
Abstracts of the United States, 98th ed., Washington,
District of Columbia, 1977, p. 135.

2Center for Disease Control, Rubella Surveil-
lance, January l972-July 1973, Issued November 1973, p.3.

3Robert Dantona, ”Centers and Services for Deaf-
Blind Children: Past, Present, and Future," Fifty-Third
Biennial Conference, Association for the Education of
the Visually HandiCapped, JfiIy, 1976, LouISville,
Kentucky, p. 55.

 

 

 

 

 

cases may not have been reported and, secondly, the
etiology of the double impairment in some cases is
uncertain. There are many causes for hearing and vision
impairment: congenital factors, disease, trauma, and
errors in medical treatment.

The increase in the deaf-blind population in so
few years is quite significant in terms of how these
children are to be educated. Through the combined
efforts of educators and parents of the afflicted
children, the severity of the nationwide problem was
recognized. In 1968, Congress approved of a plan to
develop Regional Deaf-Blind Centers. In 1969, one
million dollars was appropriated by Congress for the
purpose of establishing these centers. Two more centers
had been established by 1970. The ten Regional Centers
now in existence cover all fifty states, with funding
increased from one million dollars in 1969 to sixteen
million dollars in 1976.

These centers are administrative and organiza-
tional units designed to identify and serve the needs
of deaf-blind persons through providing mandatory

diagnosis, evaluation and placement services. Parents

of, and personnel working with deaf-blind persons, may
also receive supportive services from these centers.

The observer of a deaf-blind child witnesses the
fact that, beside the already mentioned handicaps, this
child is also without language. It is understandable,
then, why it becomes imperative that all means available
be used through which a child can become self-expressive,
socialized, and share in the human aspects of order and
meaning.

Most pe0p1e understand the feasibility of pro-
viding music for the blind. But, why music for the
deaf? Why music for the deaf-blind? Music in the
education of the deaf dates back to the early 18005,
possibly earlier. If music has been used historically
so long in the education of the deaf, it would seem that
the therapeutic and remedial uses of music could be a
source of self-organization and self-expression for the
rubella deaf-blind child whose mannerisms are usually
quite bizarre and whose emotional releases are socially
unacceptable. One cannot expect to eliminate these
behaviors without finding satisfying substitutes for

them.

 

4Robert Dantona, "A History of Centers and
Services for Deaf-Blind Children," State of the Art--
Perspectives on Serving Deaf-Blind Children, Bureau of
Education for the Handicapped, U.S. Office of Education,
pp. 18-22.

 

 

Music has the primitive appeal of rhythm which
evokes physiological and psychological responses. Even
rhythm that cannot be heard can be felt. In its
simplest form, rhythm is basic to all humans in heart-
beat, gait, and life cycle. Rhythm can also provide
persons with energy and order, two very important factors
in working with the deaf-blind person.

It would be presumptuous to think that the
correct choice of music and music-related activity
could, by itself, eliminate atypical characteristics of
the deaf-blind child. However, it would be equally
foolish to overlook the tremendous versatility of music
in its potential for satisfying self-expression, ful-
filling socialization needs, and as an adjunctive
therapy in the remediation of behavioral, physical,

perceptual and conceptual deficiencies.

The Rubella Syndrome

 

Most persons have either experienced or have
known someone who has contracted German measles, a virus
also known as rubella. This disease is usually con-
sidered as more of a nuisance than a critical condition.
Its onset is most often imperceptible and, in some mild
cases, is hardly noted, as in cases known as "sub-
clinical." Its most common symptoms are muscular ache,

fever, nasal congestion, and mild rash. It is sometimes

accompanied by a slight cough. As insignificant as
these symptoms appear to be, to a pregnant woman and her
unborn child, especially in the first trimester of
pregnancy, this virus can and does wreak irreversible
havoc in their lives. Although the mother does not
suffer serious or lasting physical effects (sometimes
none at all), the fetus is afflicted with an active
virus occasionally lasting through its first year of
life.

Vision and hearing impairments of varying
degrees are the most prevalent handicaps present in
these babies. Experience indicates that, for some, this
double impairment is in no way as limiting as the
accompanying damage to the central nervous system which,
in turn, may cause retardation, seizure activity, and
behavioral disorders. A combination of these conditions
presents an added handicap which contributes to communi-
cation disorders.

Although a number of rubella children have mini-
mal vision and hearing loss, severe neurological
impairment may not allow for meaningful processing of
sensory input. From research, it is not clear whether
behavioral disorders are due to frustration as a result
of input-processing difficulty or if they are

psychogenic.

How are professionals to determine who should be
identified as deaf-blind?
The deaf-blind child is defined as a child who
has ". . . auditory and visual handicaps, the
combination of which causes such severe com-
munication and other develOpmental and educa-
tional problems that they cannot properly be
accommodated in special education programs
solely for the hearing handicapped or for the
visually handicapped child."5
There are some implications to be derived from
this definition. A child may be diagnosed as legally
deaf-blind or clinically deaf-blind. In the former,
legal blindness consists of visual acuity of 20/200 or
less in the better eye with correction, or if visual
acuity is better than 20/200, but has a limited central
field of vision.6
There is no legal definition for hearing

impairment; it is normally categorized according to

severity, from mild to profound. Profoundly

 

5Robert Dantona, "Centers and Services for Deaf-
Blind Children: Past, Present, and Future," Fifty-Third
Biennial Conference, Association for the Education of
the Visually Handicapped, July7'1976, Louisville,
Kentucky, p. 56.

6Vanja Holm, "Multiple Handicaps: A DevelOp-
mental Approach to Their Assessment," Proceedings
WOrkshop for Serving the Deaf-Blind and'Multihandicapped
ghild: Identification, Assessment, andTraining,
California State Department of Education, Sacramento,
California, 1979, p. 24.

 

 

 

 

 

 

hearing-impaired persons are considered to be deaf.7
Clinically, or functionally, a person is diagnosed
deaf-blind when his auditory and/or visual mechanisms
appear to be intact, but, due to brain damage, is unable
to process incoming visual and auditory stimuli, in
effect, causing deaf-blindness.

Observable characteristics of a typical rubella
deaf-blind child are many. Physically, the child is
smaller in stature when compared to a normal child of
the same chronological age. Frequently the child is
thin, has a low hairline and delicate hands and feet.
There is an overall delay in physical development.

Behaviorally, the deaf-blind child is similar to
one who might be diagnosed as autistic. There is little
or no observable recognition of human relationship.
Furthermore, there is little interest in objects, except
when these objects serve to enhance the child's most
prominent behavioral characteristic, e.g., light gazing.
The deaf-blind child has a fanatic obsession with light.
Such obsession undermines much of the effort made by
those who are in a position to teach or train him.

Constant restlessness, distractibility, and impulsiveness

 

7Formerly, deafness was diagnosed as mild,
moderate, severe, or profound. Except for the pro—
foundly deaf, recent audiological journals consider all
other categories as hearing-impaired. However, for the
sake of simplicity, those with both hearing and vision
impairments are referred to as deaf-blind.

also contribute to the child's difficulty in learning.
Finger flicking, arm flapping, and rocking are to be
included in the list of behavioral characteristics.
Some children are noted to be self-abusive by head-
banging, pinching and "picking" at externally caused or
self-inflicted wounds.

For purposes of educational planning, there has
been some effort to classify rubella deaf-blind children
according to their learning potential. In an article by
Smith, educational categories are as follows:

1. middle trainable and below
2. upper trainable and below
3. middle trainable and above
Brewer and Kakalic give credit to Smith for the delinea-
tion of percentages in each category:
approximately sixty percent to seventy-five
percent are "middle trainable and below" in
what he calls "practical functioning levels,"
approximately fifteen to twenty-five percent
are "upper trainable through lower educable,"
and ”approximately five to ten percent are
"middle educable and above."9

The high percentage of very low functioning

children is an indicator that professionals and parents

 

8Benjamin F. Smith, "Potentials of Rubella Deaf-
Blind Children,” 1980 Is Now--A Conference on the Future
gfgpeaf—Blind Children, ed. Carl E. Sherrick, John Tracy
Clinic, Los Angeles, California, 1974, p. 65.

 

 

9Garry D. Brewer and James S. Kakalic, "Serving
the Deaf-Blind Population: Planning for 1980," 1980 Is
Now-:A_Confe£ence on the Future oqueaf-Blind Children,
ed. Carl E. Sherrick, John Tracy Clinic, Los Angeles,
Claifornia, 1974, p. 28.

 

10

responsible for their education must be as creative and
daring as their minds allow them to be in the effort to
reach as many children as possible, in an effective a

manner as possible.

Overview

The purpose of, and need for, this study has
been stated. General information regarding the rubella
virus and resulting birth defects found in its wake has
been provided to familiarize the reader with specific
needs and problems encountered by parents and educators,
as well as by the children themselves.

In Chapter II, a brief look at existing curricula
for rubella deaf-blind provides a reference point for the
use of music in the therapeutic setting. Finally, a
summary of articles dealing with music and deaf-blind
children is presented.

In Chapter III, a sketch of a developmental music
program is suggested. A glossary of terms, as they are
applied in this work, is supplied.

Specific objectives, methodology, and resource
materials needed for carrying out the music program are
found in Chapter IV.

Chapter V presents a report on observable
behaviors and responses of rubella deaf-blind children

who have received music therapy over a period of time.

11

In this instance, the application of music therapy has
been carried out in an exploratory manner. Results of
this exploration are the source of suggestions found in

this guide. Ideas for experimental research and methods

of evaluation conclude the work.

CHAPTER II
RELATED LITERATURE
General Curricula for Deaf-Blind
Children

A review of existing curricula makes clear that
there is no standard curriculum for use with rubella
deaf—blind. This reinforces the awareness that although
rubella children have many common identifying character-
istics, each child is unique, as determined by a
particular set and severity of handicaps.

All curricula surveyed have basic commonalities.
They usually specify the differences found in deaf-blind
population which are normally listed as those afflicted
due to: (1) prenatal infection, e.g., rubella virus;
(2) genetic, hereditary birth defects; and (3) post—
natal disease or trauma. Those least intellectually
handicapped are, to a great extent, in the third group,
while the rubella virus most often causes severe brain
malfunction, affecting cognitive development.

A clear statement of the objectives and a step-
by-step presentation of methods and/or strategies are to
be expected in a good curriculum. There is also a need

for frequent evaluation of these objectives to determine

12

13

their effectiveness when used with a particular child.
In practice, the most successful curriculum is the one
which is designed with a specific child in mind. Hart
urges this approach when she writes, ". . . we have to
stop trying to make the children fit the molds and
begin making molds to fit the children."1
Skills which the child has already mastered must
be taken into consideration along with his deficiencies.
Serious developmental lags are not uncommon. This
evidence is a reminder that although a child may be
chronologically several years of age, he may be only
twelve to eighteen months of age developmentally;
therefore, knowledge of the developmental process is
essential in planning an educational plan for the child.
Sequential increments in the learning process are
important for the experience of success by the child.
As tedious as it may seem to the instructor, sequential
teaching and learning methods prove to be the most
expedient in the already delayed developmental process
of the seriously handicapped.

Skill goals most commonly found in the curricula

surveyed are:

 

lVerna Hart, "Multi-Handicapped: The King of
Challengers," Fifty-First Biennial Conference, Associa-
tion for the Education of the ViSually Handicapped, June
1972, Miami Beach, Florida, p. 1.

l4

1. personal, social, and emotional development

2. acquisition of gross and fine motor skills

3. self-care skills and communication

4. perceptual and conceptual skill development

5. orientation and mobility

6. functional math (time, money, measure, etc.)

7. pre-vocational, vocational goals

8. constructive use of leisure time

In the first group of skill goals, growth in
body awareness, interaction with adults and peers, and
appropriate emotional responses are stressed.

Gross and fine motor skills, the second group of
skill goals, include training in directionality, later-
ality, spatial concepts, coordination of larger muscles
to fine eye-hand coordination, and manual grasping,
holding, and releasing.

Skill goals five through seven would indicate
that the students involved have reached adequate
behavioral maturity and a degree of functional
independence.

Toileting, dressing, and eating--set three-~are
the basic self-care skills considered in existing
curricula. Education in simple food preparation, table
setting, bed-making, and laundering are included when
age and ability allow for development in these

activities.

15

Communication skill methods presented to the
deaf-blind child are diverse. Natural gestures, use of
pictures, objects, fingerspelling, manual signing, and
normal speech are all used. Individual needs of the
child determine the mode of communication as well as the
timing for introduction to more complex forms. A
child's social development is a very important factor
when considering communication goals.

All of these skills, to some degree, involve the
development of concepts and perceptions. As in the
education of the normal child, there is much overlapping
in the developmental process and emergence of splinter
skills of the rubella deaf-blind child.

Training in mobility and orientation help the
student make better use of residual hearing and func-
tional vision. It also helps the child increase his
environmental awareness and techniques for getting about
safely. This segment of the educational plan encourages
as great an independence of movement as possible.

Some of the skills required for pre-vocational
training occur in the integrated program of the deaf-
blind child. These would include the development of
behavioral management, attention span, effective use of
vision and hearing, gross motor coordination, fine motor
coordination, and the development of the tactile sense

through matching, sorting, and assembling of objects.

16

Matching and sorting are done according to size, color,
shape, and texture.

Education in vocational skills is included in
the planning for a child whose potential and progress
indicate that Some type of employment is a realistic
goal for the future. This might be in a very structured
sheltered workshop setting, or, if possible, in a
broader social situation such as business or industry.

Rubella deaf-blind must also be taught recrea-
tional activities, or appropriate use of leisure time.
These are important for physical fitness, relaxation,
and social interaction. Reviewed curricula indicate

that swimming is a favorite physical activity for the
multihandicapped rubella child.

Although some progress has been made in cur-
riculum development for rubella deaf-blind children
since government funding in 1969, there continues to be
varying Opinions of what the content and procedure should
be. Trial and error continues. At first glance this may
appear to be disheartening. On the contrary, it is often
through trial and error that educators eventually come to
realize what is best in the search for effectiveness in
such a challenging and relatively new area of education.
As in all education, the critical ingredient for success

lies in the energetic creativity of the professional,

17

coupled with sensitivity, perception, humor, hope, and

genuine caring for fellow human beings.

Music and the Deaf-Blind

 

There is a paucity of literature on the subject
of music used with deaf-blind of any age or of any
etiology. This is not surprising when one considers
that the traditional concept of music presupposes some-
what complex intellectual and physical agility. The
awareness of the double sensory deficit with accompany—
ing brain damage usually found in rubella deaf-blind
makes it even less surprising.

A brief mention of the use of songs with deaf-
blind children is made in an article by Hayes in a

Southwest Regional Workshop Book of Proceedings. In a

 

report from A. F. Kent School Annex, San Anselmo,
California, use of music is also made in the context of
recreation, suggesting the use of a particular record
. 2

series.

Stensrud writes of the work of two music thera-
pists and their use of rhythm instruments in stimulation
programs. There are also suggestions for rhythmic

patterning, gross motor activities, listening, and free

 

2Gene A. Hayes, "Current Status of Deaf-Blind

Programs in California," Program Develqpment in Recrea-
tion Service for the Deaf-Blind, ed. John A. Neshitt,
University of Iowa, Iowa City, Iowa, 1974, p. 55.

 

 

18

play through music. Dance and movement are briefly
mentioned.3

In an article entitled "Rhythm, Music, and
Dance," Wright speaks of rhythm and dance in the context
of therapeutic value in a recreational setting. Wright
mentions rhythmic movement, movement qualities, spatial
concepts, use of rhythm instruments, and metric pattern-
ing. There is brief discussion of what is meant by
these activities, and how they are carried out.4

Rhythmic play and motor activity is very much
stressed at the Instituut voor Doven (School for the
Deaf) in the Netherlands. In an article by J. van Dijk,
the vibrating and motoric qualities of music in conjunc-
tion with sight, when possible, are mentioned as a means
toward establishing a higher functioning level necessary
for communication.5

Unpublished material by Zimmerman and Barkus

focuses on the use of and adaptation of Orff-Schulwerk

 

3Carol Stensrud, "Jungle Fun--Recreation for the
Deaf-Blind," Program Development in Recreation Service
for ttheaf—Biind, ed. John A. Nesbitt, University of
Iowa, Iowa City, Iowa, 1974, p. 130.

4G. Hayes, P. Cotten, and V. Wright, "Rhythm,
Music, and Dance," Program Development in Recreation
Service for the Deaf-Blind, ed. John A. Nesbitt, Univer-
sity of Iowa, Iowa City, Iowa, 1974, pp. 201—208.

5J. van Dijk, "Movement and Communication with
Rubella Childrenf'National Association for Deaf/Blind
and Rubella Children, Annual General Meeting, 1968,
p. 2.

 

 

 

 

 

l9

methodology. A third unpublished paper by van Bosch
gives special emphasis to rhythm. Self-expression,
creativity, social interaction, speech, and concept
development are possible goals, as written by these
authors. All share the common belief that rhythm is
basic to life and is of value in the perceptual—motor
and spatial develOpment of the child.

In none of the literature surveyed was there
mention of a sequential or developmental approach.
Suggested procedure was sketchy at best, or nonexistent,
nor was there indicated the functioning level of the
student or the etiology of deaf—blindness. Awareness of
these two factors is essential for the evaluation of
this literature and its potential for use with the
severely impaired rubella child. Through experience
one is inclined to conclude that these afore-mentioned
authors intend their material to be effective with
quite high functioning deaf-blind children: that is,
those with minimal brain damage.

Diagnostic Evaluation of Deaf-Blind
Children

 

Assessment of the level of functioning and
prognosis for future psychoeducational development of
deaf-blind children is a matter of on—going discussion.
Dialogue among experts centers on the following: (1)

the questionable validity of standardized testing

20

procedures designed for a normal population when admin-
istered to an abnormal segment of society, (2) the
questionable validity of a diagnosis based largely on
subjective observations, (3) the recent trend in psycho-
metric testing to incorporate descriptive approaches in
order to offset the erroneous belief that test scores
leave no room for growth, and (4) the exploration of new
ideas suggested by innovative minds and modern
technology.

Criticism of standardized tests exists for these
reasons: time limits place unfair demands on the multi-
handicapped child; communication involving hearing and
vision is necessary to complete the test; language skills
are necessary to carry out instructions; tests require
social skills and environmental awareness which are
beyond the deaf-blind child‘s experience; necessary
modifications of test items automatically alter normative
results.

Evaluation of children by means of a purely
subjective description is equally suspect. Records of
seventy multihandicapped children, provided by Curtis and
Donlon, indicate pertinent information regarding this
method. These researchers found "1,646 different terms
used to describe the children, with a very high percent
referring to judgments, observations of behavior, and

physical status rather than formal test results or

21

6 According to Donlon, all of these

functional skills."
reports contain "inconsistencies, repetition, and
incompleteness."7 Donlon, however, does not completely
rule out the value of personal involvement in the
assessment of these children.

In an effort to combine all objective and sub-
jective information into a viable testing procedure for
deaf-blind children, Curtis and Donlon suggest the use
of a videotape protocol "with generally standardized
procedures for objectifying the adult's impressions of a
child."8

There appears to be agreement among profes-
sionals that testing should be carried out in both
structured and unstructured settings. The structured
setting calls for interaction between adult and child
for the purpose of task completion by the child. The
unstructured setting takes on as many forms as there are
activities in which the child participates.

Hammer discusses the ipsative approach to

assessment. In this approach

 

6Nan Robbins, "Educational Assessment of Deaf-
Blind and Auditorally-Visually Impaired Children," State
pf the Art-:Perspectives on SepyingDeaf—Blind Children,
California State Department of Education, Sacramento,
California, 1977, p. 117.

71bid.

81bid.

22

the child serves as both the experimental

subject to show the effects of intervention

as well as the reference criteria for the

interpretation of data. In this approach,

the child is compared to himself over a

period of time.
This type of assessment allows for on-going charting of
changes in functioning levels. Its weakness is two-
fold: (1) it lacks controls for reliability of observa-
tion, and (2) it is lacking in generalization potential.
Despite these limitations, it is considered to be the
most productive assessment tool for use with deaf-blind
children at this time. Separate assessment procedures
of communication, language, affect, adjustment, and
temperament are in early stages of research.

Special developmental scales have been devised
to assess deaf—blind children in their own environment,
with special emphasis on their specific characteristics.
Test items on these scales are gleaned from a variety of
standardized developmental schedules (see Appendix A).
Qualitative performance rating as provided by these

scales offers information from a valuable, though dif-

ferent perspective.

 

9Edwin K. Hammer, "Psychological Assessment of
the Deaf-Blind Child: The Synthesis of Assessment and
Educational Services," International Seminar on Deaf-
Blind, Royal National Institute for the Blind, Condover
Hall, Condover, Shrewsbury, England, 1974, p. 4.

 

23

At this writing, there are no standardized tests
for the purpose of evaluating cognitive abilities of
deaf-blind students. The desirability of such a test is
highly questionable when one takes into consideration
the diversity within the rubella population. In the
meantime, new non-standardized measurements (see
Appendix A) play an important role in the task of
placing deaf-blind youngsters in apprOpriate educational

settings.

CHAPTER III

DEAF-BLIND CHILDREN FOR WHOM THIS

IS INTENDED

There are many deaf-blind persons with varying
etiologies; their handicapping conditions vary as well
as the causes. Children afflicted with the rubella virus
suffer serious neurological deficits manifested in
mental retardation, language disorders, and severe
behavior problems, among other anomalies. While deaf-
blind of other etiologies may also present similar
problems, it is not uncommon to find very capable, inde-
pendent persons with the multiple afflication, espe-
cially if these afflictions are caused by postnatal
trauma or disease. The needs of this population are
proportionately different, depending on education and
experience prior to the accident or illness.

Before accepting the possibility of the effective
use of music in the development of severely handicapped
deaf-blind children, it is important to consider the
various ways in which music is perceived by the average

person. One can then consider the special needs of the

24

25

rubella deaf-blind and how music can help satisfy these
needs.

Music is an art form. A composition is con-
ceived by the composer and brought into being by the
performer. The one who listens to the composition
receives its message and, thereby, completes the cycle.
This process is most often experienced as an aesthetic
and/or social one.

Music education emphasizes learning about music:
its history, literature, theory, elements, composition,
and performance. It provides the means toward knowledge,
understanding, and appreciation of music. The composer,
performer, and educator all attend to music for music's
sake.

Although some deaf-blind children can enjoy some
aspects of music as mentioned above, these will be very
few. Music therapy is the discipline through which the
majority can be served. Music therapy goals incorporate
the development, and restoration or alleviation of
emotional, physical, and/or intellectual disorders
through the sensitive application of music and music
activities, e.g., calming music for the distraught or
hyperactive child; musical activities which will promote
the relaxation and stretching of constricted muscles;

and rhythmic activities which may contribute to the

26

development of fine and gross motor skills and, pos-
sibly, language development.

The deaf-blind child is deprived of the normal
functioning of both distance senses: hearing and
vision. These are essential channels for the acquisi-
tion of environmental information and all that that
implies; thus necessary information must then be
obtained in other ways, as lack of sensory stimulation
greatly inhibits intellectual development.

Essentially, the deaf-blind child learns through
movement and sense of touch, with some input attributed
to taste and smell. It is common to observe a rubella
child exploring the environment by smelling objects and/
or mouthing them.

Before one can meaningfully receive incoming
stimuli, there must be an awareness of self permitting
\interaction between the stimulating person, object, or
event. In other words, one must have a sense of being
separate from the stimulus, but aware of its presence
and possible effect on our person.

Sensory integration deficits are easily observ—
able in motor delays, poor muscle tone, retardation,
communication problems, perceptual, emotional, and
behavioral disorders. "The result of sensory integra-
tive dysfunction is a lack of organizing, structuring,

and relating of self to objects and objects to

27

objects."1 Sensory integration is a key factor in all
learning. "Sensory input via the sensory systems,
combined with memory provide us with perception."2

Perception has several definitions and is some-
times used synonymously with concept. In this study
perception is defined as ”. . . awareness of the ele-
ments of environment through physical sensation:
reaction to sensory stimulus."3 Addressing himself to
the deaf-blind population in particular, Hammer defines
perception as ". . . the building of sensory inputs and
integrating them into patterns of recognition."4 In
this sense, perception becomes meaningful through
imitation.

The most fundamental aspects of music as found

in vibration, rhythm, and movement serve such an

 

1Cindi Robinson and Marianne Riggio, "Jean
Ayres' Sensory Integrative Approach," South Central
Regional Center for Services to Deaf-Blind Children,
1975, p. 3.

2George H. Sage, Introduction to Motor Behavior:
A Neuropsychological Approach, Addison-Wesley Publishing
Company, Reading, Massachusetts, 1971, p. 72.

 

 

3"Perception," Webster's Third New International
Dictionary (1976).

 

4Edwin K. Hammer, "Psychological Assessment of
the Deaf-Blind Child: The Synthesis of Assessment and
Educational Services," International Seminar on Deaf-
Blind, Royal National Institute for the Blind, Condover
Hall, Condover, Shrewsbury, England, 1974, p. 18.

 

28

imitative purpose. The careful application of these
contributes to the development of self-awareness and of
gross and fine motor skills. Rhythm and movement also
contribute in the establishment of physical well-being,
as well as providing a source of individual or group
recreation. To a few of these children, music may

provide the means of growth in concept development.

Vibration

 

Vibration is a musical prOperty which is a
pulsation of sound waves (pitch), causing sensation.
The sensation is normally received by the ear. It may
also be felt by the body. In this tactile sense it is
especially useful to the deaf-blind child. Its value is
primarily that of sensory stimulation. It awakens an
awareness of self in relation to the environment. It
may also arouse curiosity, a motivating factor for

learning.

Rhythm
A simple definition of rhythm may be stated as

"measured motion" or "an ordered recurrent alternation
of strong and weak elements in the flow of

sound. . . ."5

 

5"Rhythm," Webster's Third New International
Dictionary (1976).'

 

29

There are many theories about rhythm and the
integral role it plays in the psychology and physiology
of human beings. It is appropriate to mention a few of
its qualities as mentioned by Seashore, as it applies to
perception, pleasure, and efficiency. Of the qualities
Seashore lists, the following may be considered to be of
great value in the develOpment of the rubella deaf-blind
child:

rhythm favors perception by grouping . . . a
principle which is involved in all auditory
perception

rhythm adjusts the strain of attention

rhythm gives us a feeling of balance as it
is built on symmetry

rhythm stimulates and lulls

rhythmic periodicity is instinctive . . . to

act in rhythmic movement is of biological

value

the instinctive craving for the experience of

rhythm results in play, which is the free

self-expression for the pleasure of

expression . . .5

The rubella deaf-blind child is in great need of

assistance in the effort toward purposeful motor
development, organization of process (especially in

language), behavioral control, predictability, and

appr0priate self-expression. It is believed that

 

6Carl E. Seashore, Ps cholo of Music, Dover
Publications, Inc., New York, 1967, pp. IZO—IZS.

30

rhythmic activities can contribute to the attainment of

these goals.

Movement

Movement is known as a change of position. To
the average person movement in its simplest form means
walking, that is, going from one place to another. The
complexity of such a commonplace motor activity is
rarely taken into consideration.

In the normal course of events, an infant
gradually becomes aware of the kinesthesia of his own
body. This kinesthesia is the sensation of movement in
muscles, tendons, and joints. Although the child does
not intellectually understand what he experiences, this
kinesthesis informs the infant on a sensory level of the
condition of his body and what it can or cannot do.

This information eventually gets the child in motion.
Such motion is encouraged and reinforced by visual and
auditory stimulation, as well as by the sense of power
that motoric independence generates.

In comparison to the normal child, the rubella
deaf-blind child frequently has neurological impairments
limiting his ability to relate cause and effect. There
must be an intermediary to help the child experience the

combination of environmental cause and the effect it has

31

on his person. This intermediary may be in the form of

another person or a skill.

Kinds of Movement

 

A person is as self-sufficient as he is skillful.
To a rubella deaf-blind child, the acquisition of
ordinary skills such as self—care, daily living skills,
and simple work skills are a time-consuming and mostly
frustrating challenge. All of these skills require
coordinated muscle and behavior control through motor
patterns.

One may consider four basic movements as neces-
sary facilitators in the development of motor skills.
These are: axial movement, gross motor, fine motor, and
locomotor movements.

Axial movements are those performed while the
person remains in a stationary position. These include
rocking, swaying, stretching, reaching, bending, and the
like.

Gross motor skills involve the large muscle
groups of torso, arms, and legs. Balance plays a major
role in the refinement of these skills.

Fine motor skills require coordination and con-
trol of small muscles. Most important of these are

manual dexterity and eye-hand coordination.

32

Although the child diagnosed as rubella deaf—
blind is visually impaired, there frequently is enough
vision to allow for performance of skills requiring
eye-hand coordination. The child must be taught how to
use this vision effectively, in conjunction with the
sense of touch.

Locomotor skills are those which prOpel the body
through space. Rolling, crawling, and creeping are
normally the first to develop. Walking, running,
jumping, skipping, hopping, and dancing follow as
coordination skills and strength of balance improve.

In many cases, the rubella deaf-blind child
must be guided through these stages by planned experi-
ence in order to compensate for the severe visual and/or
auditory deprivation. Sensory limitations of this
nature hinder normal development of spatial concepts and
depth perception--two critical components for safe

locomotion.

AuditoryADiscrimination

 

Auditory discrimination skills include: a
person's ability to distinguish between the presence and
the absence of sound; the localization of sound (place);
the source of the sound (object or person); some charac-
teristics of sound (timbre, pitch, loudness, tempo);

auditory memory and sequencing (the ability to reproduce

33

a series of sounds in the correct order); and the mean-
ing of words, that is, language.

The ability to localize the place and source of
sound strengthens skills requiring auditory-motor and
visual-motor cues. Awareness of the characteristics of
sound informs the child of pleasure, pain, fear, or
danger. Auditory memory skills will enhance the ability
to communicate, either in the rhythmic flow of sign
language or in the effort to speak when these are
reasonable goals.

The earliest stage of auditory awareness is
usually indicated by an eye blink, a reflexive motion,
or a change in behavior. In other words, the awareness
of sound is indicated by a motor response of some sort.

The advanced stage of language skills pre-
supposes the cognitive abilities of abstraction,
generalization, and comprehension. The rubella deaf-
blind child's language skills vary depending on physical,
neurological, and behavioral deficits. Very few have
the capacity for intelligible speech. Although their
mode of communication may be gestural, sign language, or
the use of language boards, the recognition of a few
basic safety warning sounds such as fire alarms, sirens,
and horns should be in the repertoire of those with

functional hearing.

34

Vocal sounds such as those indicating fear,
anger, pleasure, pain or danger may also prove helpful
in communication. These are paired with facial expres-
sion, pantomime, puppets, or pictures. Vocal sounds
used in imitative play enhance the child's physical
self-awareness as well as proving helpful in estab-

lishing communication skills.

Socialization

 

Socialization is a process beginning in infancy
through which a person assumes behavioral patterns,
customs, and modes of human interaction as specified in
the person's immediate environment. This is enlarged as
the individual's sc0pe of experience broadens.

The rubella child's greatest development chal-
lenge is perhaps found in the area of socialization.

The reality of the child's handicaps begins an emotional
strain within the family unit. Uncertainty in human
attachments continues in the event that a child is
placed in an educational setting requiring long periods
of time away from home. The multiplicity of profes-
sional personnel he encounters in the course of the
educational process may also contribute to confusion due
to inconsistent methods of interaction. Even if the
problems encountered within the family and professional

settings were eliminated, the rubella child cannot

35

easily establish relationships because of his handi-
capping conditions.

The appropriate use of objects is often the
first challenge the child experiences on the road to
socially acceptable behavior. Deaf-blind children
commonly use objects for self-stimulation unless they
are taught how to use these objects functionally.

The first phase of interaction with an adult is
largely that of self-seeking. The adult is someone who
will satisfy the child's physical needs. Affectionate
rapport between some children and specific adults may
indeed develop over a long period of time. However,
this outcome is not to be automatically expected.

Peer interaction for a rubella deaf-blind child
will most often remain on the level of isolated or
parallel play in recreational activities. Lack of
curiosity, communication skills, and autistic-like
qualities of rubella children account for this fact.
More frequently, the child may playfully interact with
one adult, in a simple, structured activity which has
been prepared through sequential learning over a period
of time.

A few less-impaired rubella children may learn
to interact in and enjoy structured peer group activi-
ties. Children who participate in such group recreation

usually have developed enough language and social skills

36

to make this shared activity a rewarding and enjoyable

one .

Music-:Sensory, Motoric, and
Social Instrument

 

 

Upon reflection of the specific and complex
.needs of rubella children and the diversity of music, it
becomes clear that many aspects of music have a contribu-
tion to make in their training and development. In
Chapter IV the reader will find musical activities sug-
gested for specific developmental purposes. These have
been used with a number of rubella children in recent
years with encouraging signs of success.

It must be remembered that not all children
respond to stimuli in the same way, if at all. The
needs, abilities, and personality of the child must
always be taken into consideration, when adapting
programs.

Developmental lags and splinter skills are a
common occurrence in all children. Therefore, the
suggestions of the next chapter are not intended to be
followed in strict sequence, but used as the child

indicates readiness or receptivity.

CHAPTER IV

MUSIC FOR USE IN THE TRAINING AND
DEVELOPMENT OF RUBELLA DEAF-BLIND

CHILDREN

Techniques and goals for use with music in the
training and development of rubella deaf-blind children
are provided in the following pages. These are sug-
gested in a developmental sequence, beginning with
self-awareness, awareness of others, objects, and
environment. Sensory integration is considered through—
out and is included in all activities of motor, vision,
hearing, and tactile development.

Due to the need for meaningful processing
ability, discrimination, communication, and cognition
call for a level of functioning higher than that
required for imitation or rote motoric memory. Choice
of activities is, then, to be made accordingly. Com-
munication skills and social development are inter-
dependent. Therefore, it is essential to consider the
value of non-verbal communication between therapist and
child, as conveyed in touch, facial expression, and

attitudes.

37

38

There is a wide spectrum of skills involved in
social development. Some youngsters may not go beyond
simple interaction with one adult in a structured
setting, while others will benefit from and enjoy peer
group activities.

Specific activities listed for the attainment of
certain goals may frequently be applied for several
purposes, depending on the child's receptivity, age, and
size. Suggested goals and techniques in no way exhaust
the possibilities. A child's response may create a new
idea to which the therapist should respond.

It is important to remember that all development
in deaf-blind children occurs slowly and sporadically.
Activities need preparation and introduction in small
increments before they can be effective. Splinter
skills can be very helpful but, at times, misleading,
providing the therapist with mixed results. Awareness
of this fact is necessary in the choice of activity and
desired goal(s).

This curriculum guide is written with a one
therapist, one child ratio in mind, except for a few
group activities, where the student number increases.
Use of recordings may frequently be eliminated if a
therapist has an assistant to provide "live music,"
leaving the therapist free to work directly with the

child. Experience indicates that all children need some

39

degree of "hands on“ therapy to produce desired

results. This can gradually be extinguished, using only
occasional prompts (verbal and/or physical) until the
child becomes independent.

Praise, affection, and a "favorite activity"
have been used to reinforce every effort toward desir-
able responses. Primary reinforcers are not recom-
mended. They tend to create uncertainty in cause and
effect results. Music is expected to be the stimulus
and effective reward.

Recommendations for Facilitation
of Activities

 

Because music has an effect on human physiology,
it is necessary to be informed of the child's neuro-
logical condition, especially in the case of seizure
activity and/or severe spasticity. In such instances,
it is recommended that the musical stimulus be con-
sidered carefully, using that which reflects predictable
rhythms, medium pitch, and nonabrasive instrumental
qualities. Although instrumental sounds are not intrin-
sically abrasive, particular sounds may be irritating or
aversive to individual persons and certain neurological
conditions. When possible, the child should be
encouraged to explore the sound-making object before it
is played. With a spastic child, it is also more effec-

tive to begin rhythm/motor development by utilizing the

40

child's own natural body rhythm before attempting to
impose another. The reason for this is three-fold:

(1) it is developmentally sound to begin with assets the
child already has, (2) it promotes relaxation of
muscles, and (3) promotes success and positive feedback
for the child.

Although it is desirable to use large floor
space, children who exhibit poor attention and/or
hyperactive behavior usually benefit from limited space
at first, e.g., a chair, mat, hulahoop, or large box.
Locomotor activities should begin "in place" to help
child establish organization of the desired rhythmic
pattern, giving the hyperactive child a sense of direc-
tion. These precautions permit gradual gain in confi-
dence and self-control while keeping disciplinary
measures at a minimum.

Chairs used by the child must be of a size
allowing the feet to be firmly placed on the floor.
When this is not possible, a foot stool or other safe
substitute is to be used. When a child's balance is
insecure, chairs with sides are recommended to promote
a feeling of safety and relaxation. It is also impor-
tant for the adult to be at eye level with the child
whenever possible.

When a completely blind child is about to be

introduced to usually loud-sounding instruments, it is

41

especially important to allow preliminary tactile and
auditory exploration of the instrument. Deaf-blind
children learn from oral exploration also. This is to
be permitted whenever it is safe to do so. This type
of exploratiOn is a good develOpmental technique and
also minimizes the possibility of negative neurological,
behavioral, and emotional effects triggered by surprise.

If the use of recordings is desirable or neces-
sary, the following points are to be considered:

1. Volume should be monitored carefully,
especially if the child is wearing hearing aids;
hearing deficits are often related to pitch or quality
of sound. Loud volume is sometimes painful and/or
detrimental to the child. ‘

2. Instrumental renditions are most effective;
deaf-blind children cannot discriminate recorded texts
nor can they process these rapidly enough, if at all.

3. If a child appears to respond to low
pitches, increase bass and decrease treble on stereo
component; do the opposite if the child responds better
to high pitches.

4. Musical selections of definite, clear
rhythmic accent are most effective.

5. A stereo system is preferred to a monaural

set 0

42

As growth patterns overlap, so do the ideas.
presented here. Consideration of the child's needs and
personality must always come first, even when these
needs follow a slightly different order. In some cases,
sequential order is not desirable. However, one must
not expect a severely sensory-deprived child to effec-
tively respond to music unless it has first been felt
and relished by him. Skill in determining the desired
goal(s) and techniques best suited for a particular
child is the responsibility of everyone involved with

the child's program.

43

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Amvouwowsuonlonm

Amvauou

m5HSEnum
Havana:

47

 

 

sauna» an

noon o>oe cu ucooauo omonsoono
omon n.0ano so

announce Banyan mono mcnmmou
oannz nocno uonmonosu humono
no .xoun .uoonnu u.umna

Ionoza so once: nun: cocoon
unnao onnna cosmos announonu

 

oconm on» so Enuhzn
manacomsoooo on omcwo unnm
Iononu onnns uoozo o.uonmononu
0» noon n.0Hnno “nooaaozo
n.0nnno co enno m.umna

Iononu «mono: o.uonmono:u so
open: o.onwno noon «ozonm on»
mcwoom noon .moa so ounce Sana
ozone on» no mono unwmonocu

An

Am

An

AHMQOMumo
ouncnooonv
oco:

Osman

uooucoo noowomna
mo oocononou I

onno .omo
no :Onuonoonocoo I
uooucoo Hoowohzm
no ooconoaou I
«onucoo Hon0n>onon I

onconoon
nouoa wanna I
uoomuo\oosoo I
no2u0\ooocono3o I
oooconozoImnoo I

comm cOAucouuo I

uoowmo\omsoo I
nonu0\omocono3o I
omoconosqunoo I

hoodoa
engage
cannonnn>

aooHos
scunzn
acnuonnn>

 

man:0nunoom I osvwcnooa

.mcnmnnmuaz

onounonsvonIonm

Amcnmoo

nonsanum
”moans:

48

 

onooasono
abandonozu no announce Euhnn

ouounan ou nanno omonsooco .0
cocoon Hooo> no ocnx

and onus on wanna omensooco Au
unwmononu

osu an mcnmcnn poo .o>ono on .n
ocnouuoa anuann
onmano .unoso omou nonmonocu

 

coma canucouuo

 

ounnz .onoonsoso o.nonuo :ooo co«uoonouc«
no open: .nocuo coco ounoommo uooucoo Hoonoasm onconoon mango avoHoa
voodoo wanna one nonmonoau no oco: no ouconoaou I nonu0\nooconoto Enuhnn
uoonnu

o.uonmononu no one: oco no: oocoaoon Hooo> peace
320 3393 3320 no nofio uoouanusuo 832.
on» one can: oco can: manna uooucoo Hoonoanm nonu0\ooocono30 Banyan
.oconm uo couooo nonmonosu an ozone mo ooconoaou I oooconozquHoo cannonnw>

on and

unacOnunoom I onvncnooa .mvdonnouoz .ovouwownvonIonm .ovnooe HHOAwww

49

amazon oon On mango omonnooso
mann

o.uonmono:u :o nnomcnw o.pnn:o
ooona «ooxonm cnouuom onenoann
mcwacoaaoooo .ooanoaaan

8808 VG” annual zsflwnz 8.08..
3.03: :o moano nonmonosu

Eno o.uonmonozu

mo usoao>oa Hoowowna on
manocomnon MHQEno no acoEdnumcn
ocwnoon aaaoon on mango

ma oceanouoo ouIIocsoo manoso
Iona haaoauoo unonunz conuoe
manhoam an mono: can oEno
oo>06 anno:0nooooo nonmonosu
Sunaosv ocsoo can

fiasco no oocooonm no oooconozo
ocnanouoo on noncommon Hoonoana
one Honoou n.0Hnno mcn>noono
.oeaao> oco onouonmon mcn
Iano> an oconm madam unwmonozu
«canunoom oaooonun ooom
Iouuoomu an man no unnao can:
ocona on» no ouno umnmononu

an

A0

an

an

uooooo: nun:
ocona onnuooao

ounce ha :no3 uw mmao
mannoo: o>oeon .m.z

mannoon Hospwoon I
nomooo:

mo ooconoaou I
vooucoo Hoonnhnm

uo ooconoaou I

canyonconm Hooo>
fiasco mo
oncomno\oocononm
voommo\oosuo
nonu0\ooocono3o
mooconozonHoo

cOAuoassnuo
>nounono
acoHoS
saunzn

 

occhAunoom I osvncnooe

.mvnmnnoumz

.mvounowavonIonm

Amvnooo

o:~=Enum
Hoodoo!

50

Enos no anon ono>o ou

noo :30 no>o nomcnu oco mnwoonm
an monsoonm nonmononu "coonoa
mcnnoon m on szcnom o33no>

no venom onus nus unnno ”oneaco

noo u.uonmononu

on» on an canons» venom

oxoe on an: mcwmonsooco .oanno
now noocnaho ouonomoo oon>onm
nomad

Snooaoo onuxo now wand o.uonm
Ionosu co onoucnu ooooam Ooao
mango «noocnaao canons» manom
yoga no Ado: on noonnu u.umnm
Iononu no codnonnn> onoou panso
acoEo>oe

Hoonoazm no canomonmxo

Honoou an canon no ooocono3o
monounpcn wanna anus: oasHo>
oooonocn adnosuonm “umnnu

no moaaoo o3» ocnneoo uoc

on “nonamnnnu .oou. can ..ama.
lemma—I 8.03.. 8.3.. Dfiflmfl
cnouuom Enuxcn ocoquco o omcnn
xnucom nonmonosu «can: nosuo
can: noo nonuo n.0ano manno>oo
oanzz noo n.0Hnso uncnomo
nowada>o ooooam vowmononu
ozone:

oEoo mo onnogo ouonomoo co uno
noon no onooonuo oooququoou
an man no ennno mono: unnamnmgu

A6

A0

an

an

«do: an uso
.Haon Hozou
noaom aumEo
new.”
onoocna>o
pnooncnmo

onnm\omo

mo cOnuonoonmcoo
uooucoo Hoonmanm
mo oocononou
mannoo: Hosonoon

noo o.onn:o

oucn anaconnu

canon Hosanna
:0nuoonoucn HoHOOn

I cOnuonsEnuo anoucoo
cOMuosoonm Hooo>

I uoowuo\oo=oo
I oooconosqunoo

cOAuoH=Enuo
anounoao
saungn
cannonnw>

 

ucwCOnunmom I oavncnooe

onaonnouo:

onounowzvonIonm

.mvnooo

manganum
Havana:

51

 

moonm o.onnno ocnuon
can conumconuo o» aun>nuoo

oaoo now connnn no unooo on: A0
ImenonoaIuens mucous
noonao nun: camon on moo: hoe
wanna o>nocouoc oanuoouve Ounce

uflm 8H0an

 

one announce» eoozuon xcnn a .nnonnanc Inouoa menu.
on on: 63:0 0» moon oonoonucn 3 Amado). hunnouxov Amoco... I cannons-5.3
Godunoon voodoo no manocouo :« menonooon :Onuoonousn HonOOQ I anounoso
canvas oono on oono no .nunOu sonnnn coma cenucouuo I Anonxo.
one noon noon ..Anouononou an. «noon moonm Hoscoa I cannonooucn anoocoo I unoao>oa
coco: 0H0: onwno one nonmononu .o moon was: Honncoo Hon0n>ocoa I oocoHon I onesuhsn
o>ono on noon
.oocn3uco can oozouonuouzo osno
.xoon on noon .ocouo no can Av
Anonno>o on poo: woe
noon. o>ono no xoon .mnooaaonm
o.nosoo coco co mono:
ocean .c0nunoom Av an concouxo
noon .uoonu co an» anon .0
AnooHu no ooconon I
nnono coy oaooonuo oven on ooou coon canucouuo I
an and an mango mono: nonmonozu .n canuoonoucn
«noodu no nnozo so. :OnuOE Amnonasnv onno .ooo Hosanuoso o>nunuoa I
oono ou ocno no .sun0m can Anuaosv mo cOnuonoonncoo I aun>nuoonomhc ocnanoo I Adonxo.
xoon anuann >ooouo cw oxoon can menonooon uooucoo Hounoaza cOMuonmousn anoocoo I uco3o>os
mans cw panno undo: nonmononu As you oonouo on aun>numooon I nooconoso Unuosuoocnx I unanuhnn
nonsenum

ocAGOMunoon I osvnccooa

.mcnannuumz

AmvouwonavonIonm

Amvnooo

nounonz

52

cOAuonoonocoo oven coxou coon
o>on ucoEo>oe no oocoocomoocn
one cOnuonomonm xnocnsnaonm man
Ion>onm .mcnuuoo moonm an poo:
on mos oow9n>nuoo ocnoooonm
ouounaw on wanna mcnmonnooco
odnn3 .oono no .3oH .nmn: ..m.o
.GOnuoooH nun mcnmcono undo
IcOAooooo .ocon one an noonno
anon .osvncnoou o50n>onm mono:

3

AM

uonnu no nonmonosu an GOnuoHsmncoE
.eo means. new: nus onnno .m.z

03» on» mcncna

Iaoo hanosoonm .oCOAunoom mod
mm and nounnuosshoo oosoonucn
:Onunoom unaccouo

an mcwxoon .mcwao3o .mcnocon
..m.o .ucoEo>oa xssnu oonoonucn
o3» onu

ucnmmafioo haaosoonm .ocOAunoom
mom no and canuoeaho can: swoon
oonou .ooo: .omon

.oano ..m.o .ucoso>oa anon

upon 30am oouonuncn nonmononu
.oooam an mcwcnoaon odds:

an

A0

an

AM

ocnonooon

uoo oonouo
oucoesnuocn
no ouoonno
oonoHoo

-uaonnn .nnnEm

“cause
Houcoasnuocn.
ucnonooon

uoo oonouo

acnon> uconowuuso I
Honucoo Hon0n>onon I

:OMon> uconowmuso I
Honucoo Hon0n>ocon I

>uw>naoo maonm I
nouoeIHosnn> I
Aaowxov nouoe noonm I
noduoonouCn Honooo I
soon coducouuo I
cannonmoucn hnoocoo I
oocoaon I

dunno nouoaIHoson> I
Aaonxov nouoe ooono I
cenuoonousn Hon00o I
comm coaucouno I
coduonmoucn Snoocoo I
ooconon I

flflflsnrg
oneaunnn

:0nuonssnuo

aneunoao
Anonxo.
unoao>oa

onenuazn

 

mcncOHunmom I osvncnooa

Amvaonnouoz

AmvounonsvonIonm

Am.Hooo

«unsanum
Hoonoaz

53

hunacnucoo onenuann

manow>0nm .aoou no ooo on

flange now mono: :30 no: omono

nonmononu onu onnnz oncomoon

nouoa o>nuouwan an gong

Ionosu on» no ooonu noon: noon
onon oooaa On wawno owonsooco An

Banyan C HIH E manna—an no

w a 1 fl mcnxaoz an Bonn oo>os

 

oncomoon
can “cowsuou axoonIammnmcv nouoa acovcoaoocn I nooHoa
mango mo uoou onus noon: you oonouo nouoaIHonon> I canon
noon onon oooonm nonmonosu Anonoav noduoonoucn Honooo I vocnooon
annoso o no voodoo cone .oanno unnonOOon acoeo>oa won oonu I cannonmoucn anOocoo I unoao>OE
menoou nnozo so none nonmononn .o undone Honucoo Hon0n>ocon I nouoa noonm I onenuann
mcncOHunuom I osvnsnooa .ovnonnouo: .ovounonnvonIonm Aocnooo oaHaEnum

Hoodoo:

54

 

noon no announce azuann
on .o>ono no .ooco: no ocnamono
no oxenuo mo mcnmmou ocnnEoo Au
cognac,“ 3oz an oxonun on» oxoam
on: .oanco on» we ocnxoonu noon
Iw> mo ooomnsm on» now as can
:53 .292 .33 too .833»
on» no canunoom on» ocn>os
3o: uonmononu on» can: o>ono no An

1
unonmmnno
an saunau nansuue m.enn:o

anodes flw¢v4 no EC

HO W fl fl fl «GHQ ”OHM—um 0mg

ocnouuom azuxgm .sooo oxOHuo
mo nnoa oco mono: Snaoauco>o

cOnnoonoucw Howoom I

 

.ouooonmnoon on mango wound .onoHoo nouoeIHoamn> I
Inmncos can xenon n.0Hnno so manunonucoo. .nouoa ocnu.
canon 03» no oco omou nonmonosu oxenuo Enuann cowuocwonooo ozonIoao I
«guano oco manonoz nooo .uno .na m s0non> acononuuso I nouos ooonm I ucoao>oa
no ozone mango can nonmononu .o unnono Honucoo Hon0w>oson I cannonmoucn anoocoo I Onazuacn
mcnco«unoom I ozoncnooa onaonnouo: onounmwsvonIonm onaooo owwwflwwm

555

omouo non» nonooon

cango con) can an .ucoemo~o>oo

omoaucoa cane uo acosoonOMco
Ion n0u oawnccoou on: A0

ouounan

0» ounce n0u .oaoo mono: ocmno

can one madam nowmonozu «can»

Imoonom\co«uonnannoowo omoso

n0\oco noHoo now oavwcnoou oeoo
was .nenon an cnnso coasxun .n

 

manxoonu Honon> nOu voozasno
co oGOHuoooH o50nno> o» onsuonm
no nomad o>oE “noosesno on» no
omoo onu :o anacou ouoon can:
nozuo oann3 oaoo on on uoaaoe
co poo: o.onnso ouonsmncoe
«uoHHoE o can: an mcnxnnuo

nonsuOHQ
uo anonno>
D .< .o nomad
GOnuoanuonoo
mo oooonm
\onoHoo oso
Inno> mo ouoo N

Aaoaoocv ovoaocoa
oncomoon nouoe
AnoHoo .omonmv

cOHumoonom Hoson>

AnOuoa ocnuv

omosocoa cmno canon
an nnnnm unnamnosu I

 

.voo: asno so nomom :Onuosnuo Edna onocm :OAon> ucononmmso I :0nuocnonooo uconIoao cannonnn>
Icoo mo ooona ponoHoo ocean am no «smash» Honucoo Hon0w>o£on I cannonmoucn anomcoo Enuann
wancOnunoom I osvncnooa Amvnonnouoz onounonsvonIonm Amvaooo oaH=Enum

Hoodoo:

56

haucoocomooca

oEoo on on mango maon\owon:ooco
unnamnmnu can:

oaoo 00 on canno muon\omon=ooco
.uoou ononv :nouumo onenuagn

an eon» co mcwxaos ouonuo:OEov
noodu

co .muanuauoon. nonnau wanna
now oonauxou. onoononoo ooonu

 

cnouuom owanuann

an ono3n0w xaoz on mango
mcwmonnooco .ono3xoon ox~o3
nonmonocu «moo: ozu co 0H0:
o.vanso ouonnmncofi on coo: hoe
unnuononv “moo: opens“ ooou on
ooow ocean mango can nonmononu

nowuoa an can .OCnocouo
.pouooo oann3 haucoocomoocn
mean 06 on onwzo omonsooco
oouonuocoaoo one

wanna ounmomoo mono umnmononu
cnouuom E E manna—5n

0cm fl 3 fi fi ocnxnos m an moon

o>oa on oonxco n.0nnno ocsono
mono: ooooam condononu oannz
nnoao co mono wanna “tango
manoow .noon so mono unnaonosu

AU

AU

.n

.u

an

.o

An

Ad

Assumnn
upon :30

m.cnnno can:

ocnccwmon
.oenuann
unanno>v
mcwonooon
uoo oonoun

soucnndu00ux

no ouoo N

uoo oonoum
.nonos.
manonooon
moon was:

now oonoun
leagues

unnonooon

onwono

nunnnnos

onno mo
cenuonoonocoo
moonm Manama

nunnnnoa

nunnnnoa I

cowuoonousn HonOOo
oncomoon nouoa
ooonm unoocomoocw
cowuonmoucw anoocoo
Amanccan

.mcnxao3. nouoaoooH

cOAuoonoucn Honooo
oncomoon nouoa
noonm ucoucomoocw
noduonmoucn anoocoo
Aocnxaozv nouoaoooH

oncommon nonoe
moonm unoccomoocw
cOHuonmoucw anoocoo
.mcnccnn

.mcnxao3v nouoeoooa

hooHoS
ucoao>oa

onseungn

hooHoe
ucoEo>oa

onaaunnn

unoeo>os
owanuhnn

 

manCOnunoom I osvncnoos

onaownouoz

onounonsvonlonm

Amvaoou

onasanum
Hoonos:

57

noncomoon

\ooso mcncwonu anouw0so

n0u ucoasnuncn mo oowoso 0coaxo
acouonmcoo ono noncommon

anus: unossnuocn oco nun:

Mono «0nooc con3 m0co£ oonon
on 0nnno ocnmonsooco .ucoa
Ianuncn manna nonmonosu «anon
an 0» 0o0comoon o>os ozone
0Hnno ucossnuocn can: swoon
0csoo 0» 0Hnno no
ooocomoon\oc0nuooon Hoonoanm
onnnooom mo c0nuo>noono

nan 0Hnno no uconu an nonnne
on: .0Hwno 0cnnon 0ouooo an
Bozo coosuon no0n>n0

30H can: 0Hnso «0 uconw cw

no 0Hnno 0cnzon mono nonmonozu

onoom coosuon oeom

s0nuoonoucw no 0on9 on woe
nooonnm noon

In30u ocwuocnouno an asunuo
o.nozuo coco menaoam .0no3
Inou nosonoa 0Hnno onus: 0no3
Ixoon undo: nonmonocu «cones
on cnmon 0cm axonuo 0H0:
announce» one ennno .eosmnn
Inouoo on :nouuom anumnn ooso
uoou can:

Danna ou oanu manmoox .ooou ou
ooou 0couo 0sz0 0:0 umnmononu

.0

AU

.n

.u

.o

.n

an

.HoGOMumo.
nonnne
oquHoE
.xooHa ocou
.mcom .Esn0
«mo sumo N

uoo oonouo
.nonoev

mcn0nooon
oxowuo

Enuhnn .nm N

Honucoo Hon0n>onon I
mcfinoon Hos0nnon I

soon coHucouuo
mcHCnonu anoun0so

noun o>wuoonoucn
.nouoa menu.
canuocn0nooo 0co£Io>o
cannonn0nooo

nouoa ooOnm
newuonmoucw uncocoo
.ocnccsn

.ocwxao3. nouoeoooH

:Onmn> unoMOAuuao I
nunnnnos I

cenuoananuo
snounuaa
enunnn

>0oHoE
uco8o>oa
Unazuasn

 

manCOnunmom I osvnccooa

.mvaownouoz

.mvounonnwonIonm

.mvnooo

madnEHum
Hounosz

58

0ano an oocOQoon nooo> n0\0co

 

nouoa aco0como0cw ooonsooco .0
«anon on» menuuoon
0cm Hogans on» mcn0ao:
an 030: n.0anno ouoaamncoe .o
0Hn£o an mcnxoonu Hoson>
new manon no cOHuoooH o>oa .n comm GOAucouuo I
uoanoe 0omconmln90u manna wean ouonnmonmmo I
oaaon mo manhonm ouonuocoeo0 canocouxo Ens I
«.onnonnoo0 no0~os 0noso. cnou uoHHoE :0nuocn0nooo 0cozIo>o I
Iona 0nono an oanon nouocooon 0omconmIv cannn> ucononwuso I mcnmoonm dozens I acoano:
v no n oomconno unnaononu .o oHHon nouocOoon Honucoo non0n>onon I mcnxoonu Hoson> I anuann
oumoocoo sono: 0cm can: no
ucoaaoHo>o0 ouosmcoa an nouon
enema no»: on o» oavncnoou ans» .o
mean u.unnno
nan oso unoun0so o0n>onm
on unoasnuocn wanna n0\0co anon ouonnoa
0ocnanouo0Ionn omcno unnaononu .o xooHn ocou
oado ounuoonm on 0Hnso anon .n ocom Ines“:
oono> esn0 :.usox c.:ws omosmcon I a0oHoE
oon> 0nd o0nouao on o0nocn Eonu ocnmesn ”on nouoa >n0un0so I. cannonsanuo
venues“ mononuocoao0 ponmonosu onsuonm\mcoo oocoaoa I canuoonoucn gosom. I anoun0so
onnns nooHu :o moo: ooonm .o moo: nus: xunannoa I .mcnmasnv nouoeoooH I anuann
muonnoa
xooHa ocou
mcom
oso n0u doom 0» 0Hnno non non asn0
no 0ommou on coo acoooo 0ouonom sxom
Imoxo no can: :nouuom Eauann o .o IonuIcnIxoon:
.xooHn ocou .mcomv oao anoun0ao .mcnmasnv
no no 0oos on coo unnaononu onsuonm
ogu an 0oaoum Ban0 omnoa o .n .ucnmasn. . smaans s.unos >00Hoa
:omo moquon ocoo uo>nnz noon» I 3.:«- omoamaoa I. canuoazanuo
no:& on as omaan oso 0onn2nouo0 mou moan ooconon I nouOE anoun0ao I anoun0ao
Iona o co «non an ouom 0nnno .o can: xon omnoa aunannofi I .mcnmeznv nouOEoooH I Hanann
aanOHunuom I oavwcnooa .ovaonnouoz .ovounonsvonIonm .ovaoou on~98num

Amongst

59

Honmocoxoon no .ococmonx
oconmoo 0:0 ouHo no soon .oucoa
Isnuocn noanofio manna .oHoom
ocnmon ou ozonczoou o>ono on: .u
ocnouuoa ouoc
IN no In nun: monoonooo .onnoo
0:0 nonmononu :oozuon oeom
cosmodon0s onsuosnuo .Ho>oH
acoEQoHo>o0 Honooo 0o0oo:
nosooon 0unzo cos: 0cm an .o
nonaoe
0cooom mcn00o anaoa0onm .uoHHoE
oco nuns >Huco0como0:n ozone
Ionx wonm on 0ano omonsooco .0
mono oanuoou
0cm Hoaon> no acnuocnneoo o :n
anon mo masonm ouoooH on 0Hnso
mcnmnos .cnouuom oaoom oncouou
Icon :« anon ocosmo~>x omconno .0
0cm: nozuo
suns cannonnn> manaoom onnz3
0cm: oco nun3 cannon o0coo
Iowan uso annoo on 0anno anon .n
:Onuonnn> on»
ocnnoow 0Hnno mo 0cm: one can:
.o:o:mo~>x ooonoo :0nuoo O0coo
Innnu mononuocoeo0 unnmonosu .o

uoHHoE 0co
oconmoHax noon

:Onuoonoucw Howooo
comm cowucouuo

noun ouonnmonmmo
:Onocouxo eno
acnuocn0nooo 0cozIo>o
moono dozens

mnnxoonu Hoson>
uoouuo\oosoo

GOnmn> uconowwuso I
Honucoo Hon0n>ocon I

m0oHoE
snunen
cannonnn>

 

ocACOnunnomIosvnczooa

.mCHonnouoz

.mvounonsvonIonm

.oVHoou

monoEnum
Havana:

60

onsuOnm on uno25nuocn mannouoe
coca 0cm 0conon0moa ucoadnuocn
on» hone ou 0Hnno mcnmonsooco

o>o3no .oEHu o no ucosdnumcn

 

oco 0co monsoono 03¢ unooonm .o .n0noo
ucoasnuocn 0cm onsuonm ..ouo an 0cm onno
.0nnnu .0coooo o 00o annon0onm .n .Cna In x cm. .oEoo. "ucoEQoHo>o0
nondonocu no 0Hnno monsoonm coeooa 0couono0cs on umoocoo I
an 0oaoam coon no: on noumo .un mannouoe can: aunanno Honucouom I come canucouuo I
no no» no ucossnuocw noeooa man oucoEsnuocn cOnon> ucon0nwwao I nodumoonoa Hoson>.I. canuoaaawuo
Ioonm .0Hnno mo unonu an oEnu o o30nno> Honucoo Hon0n>onon I canuocnannoon0 anoun0so
uo onSuonm oco ooooam nonmononu .o no uoo H ocnnoo: nos0noon I hnoun0so I azuhzn
oso noeoo.
on» nono\o2 nono o» onnoo son
Imonsooco .oco madam unnmononu
«0anno mo aconu an oucoesnuocn
mcn0csoo aconowun0 03» oooam .0
0Hnno
mo uconw an oco oEon mcn>oam\ma
oennono eon» one ononn nooon>
n.0awno no use ucoasnuocn wan
Ihoda an oouonnocoeo0 nonmononu .o
usmcw anoan0zo nun: 0onnod acnu
Iononxo onnuoou can: mun>nuoo
onomonm .COnon> on no: 0Hn£o an .n
mansanuo 0::0m on
0anno mo oncomoon\mc0nuooon Moo
Inohsm onnnoooa no co«uo>noono
new 0Hnno on» no uconu an .Ho:0nuoo. :oEoo. sosmo: "acoamoHo>o0
0ooonm on nonnnE o oooo sown: nonnna 0couono0cs on uaoocoo I
an .0nnco on» 0cnson no .Eonu oucoesnuocn aunnnno Monacouom I comm acnucouuo I :0n9QQESuo
coosuon no0n>n0 30H nuns 0Hnno mo >uonno> Honucoo Hon0n>onon I :OAuoCAEnnoon0 anoun0so
mo aconu an mono umnmonosu .o no coco w mcnnoo: Hos0noon I unoun0so I Ecu>sn
m:«:0nunoom I osvnczooa .ovnonnouoz .o.ounonnvonIonm .ovnooo asasawum

Havana!

61

nooomnam onuosumocnx n0u ucoE

Ianuncn no canuoooH manuocnouno

.uzoasnuocn 0co 0Hnno coo3uon
oocouon0 0couxo aaaos0onu .n

.ooono

no umeonm 0co cannonuocoso0

0oo: nos 0Hnnov usoesnuocn

ooconomou
c0nuonumsnw I
0::0m

nouOEIhnouH0oo I
auwHoCOAuoonw0 I

 

onu oouoooH 0Hnno oeau nooo no oonsOo =0:nu comm :OHucouuo I. :OHuoaaanuo
nouuo sawuoooH mcnmcono .nuucoa oEoo. ou munnnno I .COnuoooHv hnouw0so
o.Eno n.0anno mo oocouon0 ucosznuocfl Monacoo Hon0w>onon I acnuocwsnnoon0 >0oHoE
no ucoeanuocn o>oam nonmononu .o oaoonno>o aco mannoon Hoo0noon I knouw0ao I azuhnn
D:H:Onuwoom I oswnccooe .ovaownouoz .ovounonsvonIonm .oVHoOO nsHaE«um

Hounosz

62

oucoeo>oa >0on can: aamcn

I0noooo 0coaoon on 0awzo man

Imonsooco .ocnouuom Ecuazn o3»
coozuoa oouosnouao nonmononu .w

.o>ono no

oscnucoov “enouuom nlfi filw an

osonm no Bon0 axona unwdonozu .o
advanuo Hoonose
on oncomoon an soon on» 0::ono
haoonu o>oa .m. 0co sazuhzn mo
noon: nonanouoo .Hv "on 0anco
manoonoooco .cnouuom w a 1 w on

Ononm no Esn0 oxoam unwmononu .0
ononuo ucn050

Ionucn Manos0onm .uonnu on on:

.cnouuoa Enuacn noccn Hocomnom

o 0ouoon0cw no: 0anzo an .m.z

IC..CC.3I

..m.o .ucwnm

 

oonon an snouuom Ezuhnn mo
amoo EnOMOEnonu no o0noo goody

on: on o>wuoomuo ooEnuoEOo .o
ucoeo>oe

umm OGHOUfl

menuxcn mcwmcono mo

 

>0on o>nuooIoo cw mcw0nooon ocn0nooon oonownomxo Hoonoxna I
on 0c0dmon 0ano 0co umnmononu .n ocnconos >un>nuoo moonm I pfifiuonsanuo
oncommon ucoEo>OE \mcnoco0 cannonoouCM anOmcon I anoun0ao
a0on mononuocoeo0 none mo onsuonm aunannos I .0::Oo mo 0oomov xcoenon
Ionosu onnn3 0o>oam on ofizuann ozone Honucoo Hon0n>onon I cOnuocwEnnomn0 >0oHoE
unnuoonucoo mo ocw0nooon .o uoHHoE 0co Ean0 wonnoon Hoz0nmon I hnoun0do I Enu>nn
mcHCOAunmom I osvnczooe .mvaonnouoz .mvounmnzvonIonm .o.Hooo o5~9Enum

Hoonnsz

63

nonmonosu an 0o>ona oconm nun:
0comoonnoo on adn0 oaoam 0Hnno .o

0oos on ooao >oe ocnnuo

o co cooHHon o .ouosvo0o ono
oaawxo nouofi ocnw n.0anno an .0

ooonnm mo cannon oooonoo0 0co

oooonocn >HHo50onm “0ouoomxo

on non: n0couono0cs 0ano
Hausa oooonnm nonIv :un3 canon .o

anon on»

sun: :Onuoo n.0nnno on mcn0noooo
osHaEnuo Hoonmsa 02o 0co cnmon
non0onoao on on >Hoxna on on no
.mcnocson n.0nnno ou 0comoon on
o>wuoouuo once on moanuosoo .m.z

 

.hnom

Ioooo: :nouuom Snu>nn owmnoomm

ocv anon ooocson 0Hn£o oanns
aan0 no ozone axonm nonmonozu .n

0o>oeon

on unasEnuo owosa noc3 wand

mannuo
o co cooHHon

conon> ucononmwso I

oc0wuoonn0 monsoaaou I
Honucoo ucoso>os I
nouosImnoun0=o I

 

Imouo 0co ucooonm on mansion ..on0 .973 acnuocn0nooo 055m «0 :ofloaafiuo
Hoonoaa oannz anon mo manocson anon 0conIo>o I oocoono\oocooonm I anoun0so
ouonvocoao0 «0con oco can: uoHHoE 0co Edn0 unnannoa I c0nuoannnoon0 >0oHoB
aon0 no oconm oaoam nonmononu .o oconm mcnnoo: Hos0nmon I xnoun0so I Enuann
nonsenum

muncOnunoom I osvncsooa

.ovnonnouoz

.mvouwonsvonIonm

.ovaooo

Hoonosz

64

ounuonnouoonoso
:Onuoa nnosu 0co oHoEnco
no monsoonm oooonn0 .a0oon

 

annouooeoono>oo on onnoo on .o
ucoasnuocn wan
Ivonnn> Bonn unmcn oanuoou n0n
auncsunommo o0n>onm .ucnnooz
o: no oauuna no: 0Hnno wn .0
hun>nuoo on» on menu» mcnxou
0ano 0co unnmononu “ocnou
Iuom s3oHoc 0co .uoou: oo=0onm
on oucoesnuocn osOAno> on: .o
o>ono no ouounan on
0Hnno omonaooco nanoooocouasano .Ho:0numov
0no3 oz» mcnxooao 0co msncono uooon0nnn
.uonmononu >2 0ouonoocoso0 .momnoa
on :nouuoo azumnn :uoou: .n soHquconmoao
acoeo>oa “no nonsuOHQ omoamcod sown canon
0co .0no3 .cmno ouounEn uom oonoum on Hanxo unnmononu I canuoonousw Howooo I
On 0sto ovonsooso «humaoocou mcn0nooon 0n03 hun>nuoo maonm I. cannoH32nuo
Insano 0n03 on» mcwxoomm ouodnoa coxoao no 0ocmwo an aoHquoou «umoocoo I hnoun0so
0:o stono: ocncmno oansz .ouo .ucom oaunxo canuoowcsaaoo acoEmoHo>o0 annann
xuoa 3oHo on oo>oa nonmonosu .o .mxonuo Enn0 new Honucouoa I omosmcoa I cannonnn>
nonsanum

acac0nuwoom I osvncsooa

.ucnonnoooz

.mvounonauonIonm

.o.aooo

Hoodoo:

65

s0nnonon>

no nnnnooo no sonuooon

on an: anon .mcnnoo: nconOnw
Iuoo o>o£ no: noo0 0Hnno an .:

canm

n0\0co onsnmom no >wnnco0n 0n

0ano omonsooso “oESHo> gnonsv

I0soH¢ mcwnocnonno .cnonnoa
Oneznann on oncoennnoCn on: .m

onanoom 0co cmno

nnnz nooo ocw>unnco0w .ooESHo>
acnnocnonno no oonono moan .u

coaoo 00. on 0ano

omonoooco «anosooconH96no

snonsw- 0no3 onnxoomo .COHnOE

0co: 0co Bno Hosanna Ann:
unnMOo o0co: omoao nonmonozn .o

nouonon on congoou ._nm.

on oann on nomcnu mo onnnoom

0o00o “haoaooconHSEnm snonsoz

0no3 mnnxoomo 0co acncmno
onnaz .ooononn. nonoonoan .o

>aosooconnsano

s0=oHu 0no3 osn oxoomo

0co ocmno nonmonosn onngz

ofinao> 0:0H no maaoonannhnn
0o>oam ono oncoasnnocn oSOnno> .0

coEoo 00-

on 0Hnso acnmonaooco .xnoaoo

Iconnoeno .0soH. 0n03 ocnxoomo

.:0nnoe Sno omnon manna .Ennhnn

on >a0noH o0con omono nonmononn .n .HoGOnnmov
Ioeoo 00. On onoxoomo oooamcon cmno Unoon
0Hwnu omonsooco «anonooconH5Enm ann3 oonono an Hanxo nowmononn I
0n03 mcnxoomm 0co c0noH. mnoanoe 0no3 COnnoononcw Honooo I..c0anoaoawno
mcncmno ounnz .onnonwno0 EnOu mcom :oxomm no 0ocmnm an >nu>nnoo moanm I anonn0so
Inoam no nooHu co0003. xnnoone oHonsxo madnxo :OMnoUMCSEEoo nonavI0soH unmoocoo I annann
Innann noow masono nonaonosn .o oESn0 now Honnconom I noosmoHo>o0 omosocoa I cannonnn>

 

on :E
mchOMnnoom I osvncnooa .ovnonnonoz .mvonnonavonIonm .mvnoow HMUMMMN

66

0oonmmo: ..m.o .onnom
mannoonncoo on: annoo0onm «oann o
no cannoao oco cocn onoa :o xnos
no>oc «oonnnnnno GOnnonnHonocoo
\cOHnoonnono n.0anno on co>nm

If

on on cannono0nocoo noncomo .m.z

ocnan oxon no :nOn on
0Hnno ooonoooco «nonmononn ha
0ononnocoao0 unannoeo uncano>

 

no oflnaoncoa an omcoo 0ocmno .0
:Onnoao soso
noncoo 0nnno un anon0oenoncn
oo o>nnoouwo ono onommom .o
onanona mannonoa on oncnom
0nnso .oann o no one .o:0nnoeo 0nonuo .hnmco
unanno> oononnocoao0 nonmononn .n .0oo .adoo:
ononnan on 0Hnno ”on omcoo
omonoooco .0oonono0c: Ado) ononnnonoo
unnc: cannoao oco anso on: no onommsm
noonOucoIon on nononona on: >0no:\nonsoq
«0nonuo .hnoco .0oo .ammos 0nonuo .xnmco noowmo no ncoao>oe
«unannoao unanno> nooso>oe .0oo .mmmon :oxomo hodmmn0 ononnmonmmo I owennhnn
h0on 0:o acnooonmxo Honoon “on:o>o\nooom no 095nm .oznxo cannoeo mo naoocoo I acnnongfino
nun: oononnocoeo0 nonmonosn .o no nonnnonm cannoowc35500 onmano I ncosmoHo>o0 oooamcoa I anonn0=o
oaasannm

mcwcoHnwoom I oavncnooe

lacnmnooou:

.ovonwownvonIonm

67

oEnn o no onnnna o oEom

 

 

 

 

on :nOn on 0Hnno omonoooco .o mom «4
:0cnond oocoo. co~noonoo .ocH
Mli.:oEnomIcanwoN .HHoEm noz .oonnn>nno¢
E.H no mcn0nooon manhcoaeoooo Ho:0nnoon0m Hanna nonoaInoson> ncoeo>0E
noaxoon an ocOnnosnnocn aonHON .n :oEnom no ncoEQoHo>o0 I unannasn
con0nnno o3n Icmanmon oceanoonn0 mCHBOHHOM >nn>nnoo moonm.I. :OAnoHsaHno
0co nonmononn an cannonnocoeo0 HHoEm noz E.H n0m nonnconom meannoonn0 mcw3oHHOu I anonn0=o
0co cannocoamxo monoIanImonn .o umcn0nooon annnwnoa cannoononcn noon I >0oHoe
oEnn o no oHnnnn mam m4
o oaom anon on 0Hnso omonsooco .o .ocH
onoon Ho=0n>n0nn .monnn>nno¢
:o oEHn oonnoonm mcn3oHno Hosannooooa coxomo ncOnnoonn0 monsoHHOM I
.monoIanIQono ononnocoeo0 .n :8 snonoNAHm no 0ocmno .oaanxo cannoononcn noon I ncoEo>oa
scnnnom szoo connoOncsesoo onEno Soda ononnmonmmo I Unaznhsn
osn 0on3: oocoo o.noxoeoo:m anu .m: oxoz Honncoo connocn0n000_ connouoanno
mmmnoonoo now xHom snononwnm "man0nooon nonoE ncononmuso nonoa ocnu\ooonm I nnonw0ao
wn :30n Enou .m: oxoz no noxoon oamsoo non wannoo: noononmuno nonosInnonn0=o I acoanos
0nooon co o:0nnosnnn:n 3OHH0w .o moo: onus a Honncoo non0n>onon ann>nnoo muonm I a0oHoE
onwozo no noses: mcw0comoonnoo
0co :on0anno no nonEd: 00o
xaaos0onm «0oonono0os on oaom
Anna: ocnsn onwxon Ado .nnono mGOnnoonn0 monsoHHOM I
oco 0co con0anno 03n anns swoon .n GOnnocn0nooo
mono ncoao>oe non oonono nOnOEIooonm I ncoao>oe
new 0::0o no oocoono\oocomonm ocw0nooon :oxomo cannoononcn noon I unannhnn
mono: .nonEoE «mono nonno unnono no 0oamno .onnnxo comm cannconno I :oanTEMnn
0co nonmononn an oeom nonwozo nonnoa 0co Ean0 acnnooncafisoo onEno aoam ononnmonmmo I anonn0so
Hoonooac mo cOnnonnocoeo0 .o oconm Honncoo Hon0n>o2on nonoaIanonn0so I a0oHoE
acaco«nnoomloavncsooe .nvnonnonoz .mvonnonsvonIonm .ovaooo o=HQEnnw

Hoonooz

68

ozonm
no Onoaa oo0n>onm nonmononn
.hanco0como0cn 0:o anoonu
o>oa on >0oon on 0Hn£o con: .0
ononnsn
on onosooouo no nonaononn now
no0oon on on 0Hnno omonsooco .o
nooco50noo:00IwHoo nomon0 an no
Ado: no noo8o>oe no anonno> 0co

 

ao0oonw onoEonm on Hammaon ono ocooHHon ncoao>oa
ocooHHon no .nconnnn .oo>nooo .n unconnn onaznacn
ononnan on 0Hnno mow oo>nooo :OMnQdEnno
Imonoooco .onmno oonm an oo>oe ozone hnnnnnoa I acnnoononcn HonOOo I unann09o
nonmononn .ocnonnom Banyan ocn0nooon COnmn> ncononmusn I ncoeo>oe o>wnoono I ScoEnon
o50nno> no mcn0nooon mono: .o non oononm mannoos Hos0noon I nonoEIomonm I a0oHoe
nanoannm

manGOnnnoom I oavncnooa

.mcnonooooz

.mvonwonnvonIonm

.ovnooo Hoonoaz

CHAPTER V

RESULTS OF WORK USING MUSIC WITH

DEAF-BLIND CHILDREN

The effectiveness of music and music activities
with seriously impaired deaf-blind children often
demands that the therapist's performing and aesthetic
skills may have to be temporarily altered. Instead, the
therapist's intuition, sensitivity, and human warmth
contribute to the establishment of rapport, eventually
leading the child to respond to musical stimuli.

Observations based on the writer's work in music
therapy with rubella deaf-blind children are presented
for consideration:

1. The greater the physical contact with the
child, the more successful the experience is likely to
be. Touch is a basic form of communication.

2. Intervention at an early age makes the above
more possible.

3. The child's own body should be considered as
the basic instrument.

4. The lower functioning child should have

individual, daily music therapy sessions; the amount of

69

70

time for each session is determined by the attention
span of the child.

5. Left to their own devices, most rubella
deaf-blind produce a rhythm, vocally or with an object,
which is approximated by this notation: JohJ J‘J etc.

6. Generally, the rubella child does not neces-
sarily respond best to low-pitched instruments as is
normally expected of the hearing impaired.

7. Most rubella deaf-blind indicate, by choice,
a preference for bells, triangles, glockenspiel, and
piano; there is an absolute dislike for rhythm sticks.

8. Recordings are not effective with low-
functioning children and discretion should be applied
in the use of them.

9. Short, "live" improvised compositions, using
"bits" of rhythm and/or melody are most effective in
meeting particular needs.

10. A plan of action is never so important that
it must take precedence over unexpected cues or respon-
ses from the child; one must always be ready to observe
and explore.

11. As with normal children, effectiveness of
techniques varies from child to child.

Experience also indicates that growth of deaf-
blind children is similar in content to that of the

normal child; however, growth is fragmented, and the

71

order in which skills are acquired is frequently "topsy-
turvey." Also, the average rubella child needs to be
"put through the paces," so to speak, because he cannot
make compensatory adjustments to complete what is being
asked of him. Cause and effect are not readily
perceived.

The preceding comments list the most significant
observations made by one who has worked with a number of
rubella deaf-blind children in a music therapy setting.
It is probable that some of these observations are
already familiar to other professionals who also work
with this population.

The suggested curriculum as presented in Chapter
IV is the result of trial and error followed by trial
and success. Other music therapists are urged to work
with these suggestions, and to modify them to fit the

specific needs of the children.

Need for Experimental Research

 

Research is needed to determine if, in fact,
present techniques and experience can contribute to the
growth and development of some rubella deaf-blind
children. At this point, these techniques, even though
interesting, raise many questions. For example, might
eye-hand coordination skills be mastered more easily

through musical activities than through some other

72

discipline? If one reflects on why most rubella child-
ren encountered in music therapy sessions and elsewhere
spontaneously vocalize, or move, or tap an object in a
particular rhythm pattern, then one can make certain
assumptions. Could such a rhythm pattern be related to
the rubella child's defective heart? How general is this
trait in the overall rubella population? Is this know-
ledge useful to better understand the child?

At this time there does not appear to be docu-
mented research on the use of music with the low-
functioning rubella deaf-blind. Because their needs are
so great, one cannot discount any avenue of learning
until such learning has been proven ineffectual.

Suggestions for Carrying Out
Experimental Research

 

 

The rubella deaf-blind child is as complex as
his needs are extensive. There has not yet been devised
a standard format for the general assessment of the
rubella child. In time, with the aid of research, music
might be found helpful as one segment of diagnostic
testing for deaf-blind.

Although the preceding chapter suggests activi-
ties in broad developmental terms, it is by no means
exhaustive, keeping in mind that what the child responds
to best, or shows curiosity about, is a place to begin.

Only when the therapist has captured the child's

73

attention can the study be pursued. This is why a
music therapist with whom the child is familiar should
conduct the actual sessions in a research project.
Previous interaction between the two will provide the
opportunities to develop a communication system satis-
factory to both. This is an important point: the
absence of a communication system can cause severe
behavioral problems with the child, affecting the
research results.

The learning process of the rubella deaf-blind
child is slow; thus research must be extended over a
period of time. Each session within the research
period should be no longer than the child can easily
tolerate, and should be at the same time every day, if
possible.

The use of videotape is a most reliable method
of data collection. It is recommended for the following
reasons:

1. The responses of deaf-blind children are
often very subtle, and might not be noticed in the
actual unfolding of a session.

2. It is possible that a response be attributed
to musical stimuli when it actually should not have

been.

74

3. A better judgment of the effectiveness of an
activity can be made when viewed in context.

4. The total commitment of the therapist to the
child automatically eliminates a credible objectivity in
an evaluation.

5. Use of videotape eliminates the need to have
observers in the room during sessions when viewing booths
are not available.

6. Tapes can be used for teaching purposes at a
later date.

7. The development/growth of the child is
accurately recorded.

Arguments against the use of videotape should be
mentioned. For some institutions, the cost of purchasing
video equipment and tapes might be prohibitive. However,
new portable models are less expensive and quite prac-
tical, and videotapes are reusable.

The placement of the microphone, if not built in
the camera, can present a problem, depending on the type
of child and/or session being recorded. The size of the
room used might be a deciding factor. If a technician
is required to operate the equipment, scheduling may be
difficult on a regular basis for a long-term research
project. However, none of these problems are insurmount-
able and are well worth the effort necessary to overcome

them.

75

Conclusion

 

The purpose of this study is to provide a
develOpmental guide in the use of music in the training
and treatment of rubella deaf-blind children. Although
it may not prove to be effective with all such children,
it is believed to be a viable source of help for many.

The suggestions of using music with deaf-blind
may be a stumbling-block for many therapists who argue
that it is too radical, impractical, and not likely to
succeed. However, advances in science, medicine, educa-
tion, and the arts have all come about because someone,
at some time or other, dared to try the unorthodox. We
must do no less for the handicapped child.

The outcome of research suggested in this paper
will be largely dependent upon how researcher and child
perceive each other. Mutual respect and trust are the
foundation for success. We must acknowledge the handi-
capped child as a person who is worthy of our respect
and energy. Because handicapping conditions are secon-
dary to the whole person, it is essential to approach
the research task or the teaching and training of these
children with an awareness of who they are and what they

can do.

76

Maslow writes "What a man can be, he must be.
This need we may call self-actualization."l The impli-
cation for therapy is that man must have the experience
of growth that is potentially his. When a child is not
able to provide this for himself, it becomes the respon-
sibility of those who share his life to supply what

might make him as whole as he is meant to be.

 

1A. H. Maslow, Motivation and Personality,

Harper and Brothers, New York, New York, 1954, p. 91.

GLOSSARY

77

GLOSSARY

Abstraction: working of the mind; abstract thought
Anomalies: abnormalities

Asymmetric: lack of symmetry in spatial arrangements of
body parts

Auditory discrimination: differentiation of sound
stimuli

Auditory memory: the ability to reproduce a sequence of
auditory stimuli; recall

Auditory-motor: ability to process auditory stimuli
into motor responses

Autism: childhood disorder rendering the child non-
communicative and withdrawn

Brain damage: a structural injury to the brain as a
result of accident, disease, surgery, or prenatal
insult

Cognitive: the faculty of knowing, of becoming aware of
objects of thought or perception, including under-
standing and reasoning; thinking skills and processes

Communication: interchange of information or thought
through speech, print, signs, or gestures

Concept: an abstract idea generalized from particular
instances

Congenital: present at birth
Curriculum: a course of study; educational plan

Depth perception: ability to distinguish one object
from another; three—dimensional visual perception

Development: changes in an individual from conception
to death

78

79

Diagnosis: analysis of available information, subjec-
tive and objective, to determine the nature of a
disability

Directionality: ability to match information concerning
external stimuli with kinesthetic awareness of
direction within the body

Etiology: the study of causes or origins of a disease
or dysfunction

Evaluation: process of determining the effectiveness of
instruction or therapy

Expressive language: ability to communicate ideas
through speech, writing, signing, or gesturing

Fine motor activities: motor activities through which
the fine and delicate muscle system is employed in
precision movements

Fingerspelling: use of manual alphabet for the spelling
out of words

Generalization: the ability to apply learned informa-
tion in a variety of ways or situations

Glissando: a rapid series of consecutive notes played
on a piano, xylophone or similar instrument by slid-
ing the fingers or mallet over the notes

Gross motor activities: motor activities through which
the large muscle groups are employed and total body
rhythm and balance are of major importance

Hyperactivity: excessive activity or energy; activity
without purpose

Kinesthesis: sensory awareness and impression of move-
ment in muscles, tendons, and joints

Laterality: the internal sensorimotor awareness of the
two sides of the body and the ability to identify
them as right or left

Mental retardation: significantly subaverage general
cognitive/intellectual functioning

Metric pattern: movement based on meter; pre—determined
rhythm pattern

80

Neurological impairment: evidence of specific and
definable central nervous system disorder

Orientation and mobility: a systematic method of
instruction which enables the visually handicapped
person to understand the environment and travel
safely and efficiently

Parallel play: independent play carried out next to
someone but without interaction with the other

Perception: means by which a person recognizes and
integrates sensory information meaningfully; the
integration of raw data obtained through the senses

Perceptual-motor: interaction of perceptual information
with motor activity

Prognosis: the art of foretelling the course of a
disease or dysfunction

Prone position: lying on the stomach

Physiological: pertaining to the functions of living
organisms and parts, e.g., digestive system, heart

Psychogenic: causation of a symptom or illness by
mental or psychic factors as opposed to organic ones

Psychological: relating to, or acting through the mind,
especially in its affective and cognitive functions

Psychometric testing: the science of testing and mea-
suring mental and psychological ability, potential,
and functioning

Receptive language: language that is spoken or written
by others and received by the individual with
comprehension

Residual hearing: remaining amount of hearing;
functional

Rubella: German measles

Sensory deprivation: being cut off from usual external
stimuli and the Opportunity for perception through
the loss or absence of hearing or eyesight

Sensory integration: the ability to receive, interpret,
and respond to sensory stimuli

81
Sequential teaching: presenting ideas or tasks in
developmental increments ‘

Spatial concepts: awareness of environmental space and
personal space

Spasticity: excessive tension of the muscles and
resistance to extension

Splinter skills: highly specific skills having limited
relationship to the activities of the total organism,
series of motor patterns

Stereotype behavior: persistent mechanical repetition
of a motor activity

Symmetric: corresponding shapes and positions of parts
(of the body)

Syndrome: a configuration of symptoms that occur
together and that constitute a recognized condition

Tactile-kinesthetic: combining sensory impressions of
touch and muscle movement

Therapy: treatment for curing or alleviating a disorder

Visual-motor coordination: ability to relate vision
with the movements of the body or its parts

APPENDICES

82

APPENDIX A

ASSESSMENT INSTRUMENTS USED

WITH DEAF-BLIND

83

APPENDIX A

ASSESSMENT INSTRUMENTS USED

WITH DEAF-BLIND

Standardized Tests

 

Bayley Scales of Infant Development Infant Behavior Test
The Psychological Corporation

304 E. 45th Street

New York, New York 10017

Denver Developmental Screening Test
W. K. Frankenburg and J. B. Dodds
University of Colorado Medical Center
Denver, Colorado

Hiskey-Nebraska Test of Learning Aptitude
Marshall S. Hiskey

5640 Baldwin

Lincoln, Nebraska 68507

Stanford-Binet Intelligence Test
Houghton Mifflin Company
Boston, Massachusetts 02107

The Leiter International Performance Scale
Russell G. Leiter, Ph.D.

Stoelting Company

1350 S. Kostner Avenue

Chicago, Illinois 60623

Vineland Social Maturity Scale
Edgar A. Doll, Ph.D.

American Guidance Services, Inc.
720 Washington Avenue, S.E.
Minneapolis, Minnesota 55414

84

85

Non-Standardized Tests

 

Learning Accomplishment Profile
Anne Sanford

Kaplan Press

600 Jonestown Road

Winston-Salem, North Carolina 27103

Learning Accomplishment Profile for Infants

M. Elayne Glover, Jodi L. Preminger, and Anne R. Sanford
Kaplan Press

600 Jonestown Road

Winston-Salem, North Carolina 27103

The Callier-Azuza Scale

Robert Stillman, Editor

Callier Center for Communication Disorders
1966 Inwood Road

Dallas, Texas 75235

APPENDIX B

RESOURCES FOR INSTRUMENTS MENTIONED

IN GUIDE

86

APPENDIX B

RESOURCES FOR INSTRUMENTS MENTIONED

IN GUIDE*

Lyons
530 Riverview Avenue
Elkhart, Indiana 46514

Magnamusic-Baton, Inc.
10370 Page Industrial Boulevard
St. Louis, Missouri 63132

M. Hohner, Inc.
Andrews Road
Hicksville, New York 11801

Music Education Group
1415 Waukegan Road
Northbrook, Illinois 60062

Rhythm Band, Inc.
P.O. Box 126
Fort Worth, Texas 76101

 

*In alphabetical order.

87

APPENDIX C

RESOURCES FOR RECORDINGS LISTED

88

APPENDIX C

RESOURCES FOR RECORDINGS LISTED*

Children's Book and Music Center
2500 Santa Monica Boulevard
Santa Monica, California 90404

Educational Activities, Inc.
P.O. Box 392
Freeport, Long Island, New York 11520

Kimbo Educational

10-16 North Third Avenue

P.O. Box 477

Long Branch, New Jersey 07740

Lyons
530 Riverview Avenue
Elkhart, Indiana 46514

 

*In alphabetical order.

89

APPENDIX D

RECOMMENDED RECORDINGS

90

APPENDIX D

RECOMMENDED RECORDINGS*

Children's Book and Music Center
2500 Santa Monica Boulevard
Santa Monica, California 90404

Adventures in Music, Complete lZ-record set - M654
RCA Recordings, Gladys Tipton, Editor

 

Dance Music for Pre-School Children - PE148
Bruce King, Douglas Nordli

 

Lullabies From Around the World - M906
Marilyn Horne, Richard Robinson

 

More Learning as We Play - SE228
Iinstrumental selections)
Winifred Stiles, David Ginglend

 

Pictures at an Exhibition - M633
Modeste Mussorgsky

 

Educational Activities, Inc.
P.O. Box 392
Freeport, Long Island, New York 11520

I'm Not Small - AR547
7'Dance Around" circle game
Patty Zeitlin, Marcia Berman

 

 

*Almost all recordings are totally instrumental
renditions and have clear rhythmic qualities which can
be used for various purposes when the use of recordings
is called for. Some recordings may be purchased from
several companies.

91

92

Mod Marches - AR527
Hap Palmer

 

Modern Tunes for Rhythms and Instruments - AR523
Hap Palmer

 

Movin' - AR546
i'Pause" musical chairs game

Hap Palmer

Rhythms for Today - HYP29
Carfie Rasmussen, Violet Stewart

 

The Feel of Music - AR556
(fast-slow; loud-soft)
Hap Palmer

 

Wake Up! Calm Down!, volume I - AR659
Elizabeth Polk

 

Kimbo Educational

10-16 North Third Avenue

P.O. Box 477

Long Branch, New Jersey 07740

Music for Movement Exploration - LP5090
Karol Lee

 

Pretend - EA563
(instrumental side)
Hap Palmer

Sea Gulls - EA584
Hap Palmer

 

BIBLIOGRAPHY

93

BIBLIOGRAPHY

Books and Miscellaneous

 

Ackerman, Jeanne V. Play the Perceptual Motor Way.
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Adler, Sol. The Non-Verbal Child. 2nd ed. Springfield,
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Andrews, Gladys. Cgeative Rhythmic Movement for
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Apel, Willi. Harvard Dictionary of Music. Cambridge,
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Bailey, Philip. They_Can Make Music. New York, New
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Barkus, Andrea Storm. "The Orff Schulwerk: A Proposal
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Moran, Joan M., and Kalakian, Leonard H. Movement
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National Association for Music Therapy. Handbook of
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Riordan, Jennifer T. They Can Sing Too-—Rhythm for the
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fi

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