 yw gallwch Welcome Square on music education services. Ionnw yw'n unig allwedd y ffordd, oes byddo'r gwaith yn fath. Mae'r gweithio, ar olawl o'i ysgolion, mae'n gweld rhan o gyliannod yw, mae'n sgolion os yn ei wneud, mae'n gweithio i'r ffaith, mae'n meddedig. Felly, mae'r fawr o'r cyfnod wedi'i gweithio'r ymddylch yn ymddylch, yn ddau, ac yn fwy ymweld, oherwydd mae'r fawr o'r ffordd yn ei ddweud o'r cyfnod. Mae'r rheswm yng Nghymru a'u ddweud yn fawr o'r gweithio'r pwysigol, We don't do very much Samsung, even though we do some, we do believe that more work at the moment needs to be done to include deaf and hard of hearing children in playing musical instruments. We do want to use less of percussion instruments, which is quite commonly used, and because we have found throughout our project that when you use the widest possible range of instruments, children indeed do choose all kinds of instruments. There is no favourite instrument at all, so we want to widen opportunities and open up choices and deepen experiences through various musical experiences. We're very, very keen to push the boundaries and even looking to singing as well as instrumental and Samsung and so on, because there's so much you can do with music. Performances, we do organise performances by musicians who are professional musicians and we want to break into music venues. So it's very, very rare that you ever see a musician with hearing rock performing and we want to change that. The way I'm made to be seen performing, I think that will change our doing the perceptions of deaf and hard of hearing people who consume music. We believe that obviously we want to raise expectations of deaf people who consume music. So I'll come and move on to the next slide, please. So I would like to ask you all, how, I'm sorry, can we go back to the previous one, please? How does music sound to deaf and hard of hearing children? What do you think it sounds like? Are you able to have any responses at the moment or not? A certain question to the moderator. But maybe we can talk about that after the presentation, Danny. OK, that's fine. I think I could mount the sponsor anyway, because I've got that down in my note. With technology available, many people are hearing devices. They experience some level of hearing through hearing devices. We always must remember that musical perception and appreciation of music, even with hearing devices, can only be developed through the current exposure to music. We have noticed that there were many deaf children in schools with hearing aids with very limited exposure to music, but their perception skills were limited. And so therefore, with that exposure continued, on a day-to-day basis, they can only develop their perception skills. Music also has a visual, physical and performance aspect. For example, visually, you could be reading music, you can visualise musical motives and patterns and shapes, different themes, even themes that might have been varied. Music is physical. For example, when I'm playing on the piano, I might be playing for a coffee ad, and it might be very, very percussive. And I could be playing Debussy, and it would be very, very gentle, very impassionistic. And of course, physical is totally different. That is an experience itself. Music, we believe, is a multi-century experience. It can encourage participants to experiment outside of their comfort zone and to express themselves in a new way. Next slide please. So, is music something... Oops, let's go back to the previous one. Is music something that all deaf and hard-of-hearing young people should have access to? And how could that work? We believe that hearing loss should never be a barrier to enjoying and making music. It is proven that participation in music can play a crucial role in a person's development. It promotes inclusivity. It teaches young people how to work together. It develops their listening skills. It builds confidence. It develops communication skills and provides a vital outlet for self-expression. We work mostly with integrated classes in the school, and we find that music making is an extremely effective way of supporting social integration. So, I think music is actually universal. It unifies the community. I feel quite emotional every time I say that in my talks. I think if you look at me here, I've been found with that music that enables me to find my voice. It enables me to speak to people, to express myself through performing amongst those facing the audience. If it wasn't for music, I would never do that. So now, with my voice, I can express myself just like my peers. That is valuable, and I think it's a special value for deaf and hard-of-hearing young people, and it's a special value for their development. Music is also a discipline process because, as you can imagine, when you are practicing on an instrument, you've got a performance coming up, you will be practicing at home, you will be developing your technique on the trumpet, for example, and that's how you're disciplining yourself. You are becoming resilient, and you deal with the nerve that you have flying around the butterfly, and when you go on the stage, you bring yourself on stage beneath both spotlight and front of both faces, and you grow out there and perform and you keep yourself together and you play with what you worked hard for, and up that is resilience because when you walk off the stage, you feel a sense of pride in yourself, a great sense of accomplishment, and that is empowering, especially for me being deaf. I think it's a very angelising experience, quite a lot of the time, trying to hear people in the mainstream school, the vast majority of students are hearing, and so having you there is, it gives me strength, really, and it's amazing in the way that it helps me to deal with life in general, across the whole spectrum of life. Next slide please. So, recently we did a project, we are still doing this, it's ongoing, and we are working in partnership with the National Centre for Early Music, and it's based in York, in the north of England, and we are working with young people in the city of York on a Saturday afternoon, and we are working with a range of musical instruments, the sessions are led by deaf, adult, music, graduates, and music educators. So, before, well, I'm not going to say any more, I think the videos explained it so. Music has a profound effect on people's lives. We believe at the music hub that regardless of any child's situation, they should have an opportunity to access music. A really important thing today is to make sure that music is open and available, and that there is a pathway for both deaf and hearing children to take part. We wanted to give opportunities to children with hearing impairment through I Can Play, it's brilliant to have music in the deaf being part of that and leading some fantastic workshops. What we are about is to try and give the opportunity for young people to make music regardless of their age, of their background, or in terms of what their particular needs are. I Can Play sessions are going to be happening at Vale of York through York Music Forum on a Saturday morning. It's to assume that conductors just don't go together. The sessions will start to open up music and give a taster to young people in the city of York. Watching Danny work with young children learning about rhythm patterns using fruit was just absolutely fantastic, and watching their level of engagement, those sort of activities could be done with any child. So this is a really positive message about what deaf children can do, really looking across the whole spectrum. On the next slide please. OK, so you may be wondering how we actually engage deaf and hearing people in music making, so I'm going to give you some examples of activities, approaches and benefits. So on the next slide we will talk about how we can introduce post and rhythm. So what is post? Post is a musical term for beat. It's a beat like this, like the heartbeat, like the clock ticking. Now quite naturally any child attempting to clap the pot may want to get faster, and if you are turn taken as a group naturally they will get faster, and we need to demand them that this is not a race, you need to be steady. So an activity that I do within that process, they will have everybody clapping in turn, but we keep this interesting by providing a rule, which is anybody can clap twice, but if anyone can clap twice we would have to go in the opposite direction. So wrong, wrong, wrong, wrong, wrong. And then we have another person trying to do the other direction. It may sound simple, but it's actually really useful for keeping the concentration going in the group, and it's really good for teamwork as well. It's very practical, it's very physical, if you have everyone in the circle, everyone looking inwards they can see exactly what is happening. So if you look at the picture on the screen you will see some flashcards, with some symbols. If you look at the top row, the sequence of four cards here shows a black square, and let's say the black square represents a single sound, one single beat. And so the next one would be shh, the rest. And the third one would be two beats, within the post, okay keep it. And then the last one is one beat. So if you had a clap you could use these flashcards by displaying them on the board, and I would probably start by using four black squares, and we would point each of the squares in turn and in time, and include the whole clap to clap along in time. Did you look at the bottom row? You will see what looks more like music notation, and that's how these notes really are on display behind the above cards, and you could turn them round to reveal the music notation. And so you are very quickly introducing music notation and music notated rhythms, and so you can make this a very interactive session where you would be swapping the cards around. Now here I've got these cards in front of me there, in the row. I'm going to show them, and put them two squares here, okay, and then I would perhaps volunteer to come to the front of the clap, and then change the pattern. I'm going to move one card, and then the pattern has shown. Use two different patterns at the same time, and make it more complicated. You could use different instruments. You could use body percussion. You could act the clap to give some ideas using different types of body percussion ideas, or using the table, or you can be quite resourceful. There are many things that you could use in a classroom, even if they didn't have any instruments. You could use milk, or recycled items. You could use plastic buckets. It could lead to a performance in a school concert. You could extend this pattern by using a sequence of four here, and then you could make this an ABA structure like this. I'm composing at the moment. Here I have decided to create my music in an ABA structure. It's considerably longer when you use structures like ABA. You could use a Wonder Form, which is ABACA, or you could make it even longer. ABACA. You can have young people writing their own rhythmic pattern, and have them on display on the wall. You could have a table with some instruments, and other young people could be looking and volunteering to play in the wrong time, and you have an interactive display board of different compositions. You could open things around in the shrew. I hope that makes sense. Could we go on to the next time, please? Could we go back, please? If we go to the next one, I'll jump to that one. Many people do ask, how can we introduce pitch to young people who may not be able to hear it very clearly? For me, being profoundly deaf with my hearing aid, I'm going to hear some pitch, and what I find is that when I'm playing the piano, I can hear the mid-range. The further I go towards the top end, the pitch, parity, it changes, it gets worse, and it becomes more like a peckensound rather than at anything that is pitched. Even down in the bass area, it has become very muffled and very deep, but no parity there. The main thing that I always point out is that I'm aware that the sound is traveling further and further up. If I had a music score, even if I cannot hear that part clearly, or this part here, I can visualise it. So all these other senses are coming into play. If you wanted to, you could use a pitch resolve which I used at the very beginning. It introduces two different pitch levels. If we go on to the next slide, I can show you four different pitch patterns. OK, so you see on A, we have three hand notes. I have two chime bars here, and so this is the bottom note, and this is the bottom. And then B is C. I would normally introduce each of the patterns like I did, and I would like to always have this physically held higher than the lower one, and so that I can make it visually clear how I'm matching up with the pattern. And what I would do is a simple game, a liquid test, allowing children to listen and to see at the same time. I would play, for example, on that, and they say that, we say that, brilliant, we'll do this again with everybody else guessing. And then I would probably challenge them by playing two different flashcards, for example. And see if they can guess what the two flashcards were and whether they can guess that in the right order. But this is very, very simple. It is only to introduce the concept of pitch. I think it also shows, I think it's a very good way to develop all the memory, because if I want to play three flashcards and the pupils are trying to hear and concentrate and get three in a row, it's really good, you're pushing them, you're challenging them to listen, to watch, concentrate and trying to perceive what is actually playing and understand the sequence of patterns that play through pitch. You could also use movement responses. For example, if you have a flashcard, three high notes you have high high. And for B, and C, E, and so I would probably have a go doing that and then ask them to respond using movement, so understanding through movement. See if they can have a go just listening. I'm not watching. See if they want to have a go, I'll try them out. And don't really, really find to make the most of perceiving pitch through listening. OK. Let's have a look at the next slide. I found that music is a very effective way of bringing stories out to life. So if you have, if you're accustomed to reading stories and having children listening, you could actually do more by including music, because I think music helps to give children a sense of ownership and to give them a part in the story. And it gives them, what can I say, an emotional connection to the story and to be alive. They probably want the character in this story. So let's have a look at the next slide. Here we have a PowerPoint presentation which I have before. And that is a very, very short story. Let's have a look at this. Blast off. 10, 9, 8, 7 and so on. I could ask the class, what's happening here with a rocket that is switching all the engines on and there's a plane bursting. And then at this point, you're including everybody to describe the scene. And what would the sound be like? What kind of noise can we make? Can we use our feet stand on the floor to create the sound of the thunder, sound of a rocket ready to blast off? Can we all count in time? So there's lots of things you could do with this slide. On the next one, the roar, the heat, become the heavy beat. So, could we create a roaring sound? Could we create something like the madness of the heat? Could we include a beat that creates tension? On the next slide. Now I'm in space, a dark and lonely place. So what happened to the music? How did it change? Is the music at all? Do we have complete silence? I think silence can be absolutely dramatic if you've got a sudden drop in sound and it just completes silence with blunting. Can we challenge the children to work together to be completely quiet and still? On the next slide. I see planets and stars all around. Explosions of dust and crashing sounds. You could use metallic instruments and maybe things like cymbals. You could use an ocean drum. It's basically like a drum with lots of tiny beats inside that are rolling. You could use pedals in a bucket, things like this. But maybe you could invite children to decide themselves. On the next slide. Rocks travelling fast. Is that the earth that I have just passed? So we could have something zooming fast. Really fast. No, going past is really fast. So what can we do? Can we have something that crashes together? You know, you have wooden blocks hooking together. Again, they don't create a room for anyone to suggest ideas. Next slide. Closer and closer to the sun's powerful heat. The rocket is shaking. I hold onto my seat. So how do we create that sense of heat? Do we create tension? Did the music get louder? Do we have a rumbling sound? You could make this more of an improvised section where you're using hand signals. You have everybody rumbling. Everybody's rumbling with sticks on the drums or on the table. But they need to watch you carefully. You're doing that. And then you make it louder and louder and louder, bring more people in to the turn. And that would create a dramatic effect. Next slide. My journey is over. I splash in the sea. Could this really have happened to me? So can we create a splash in sound? Does the sound ring? Does it stay suspended in the air? Does everybody sit inside them and wait for the sound to die out? That is up to you. You can make a dramatic ending or just have a sudden complete sound. So lots of inspiration here in a very short slideshow. But again, lots of room for creativity. So this kind of storytelling seems to work because you have the captions here. You've got photographs here. And I think it's just to invite everybody to have a look, to read, rather than just listen, but listen, look and read, and to feel really part of the activity. On the next slide. So, recently we've come to death from a project called Frequelize. We found that technology would be used more and more in music production. And so we needed to be more technology and digital focused. We noticed that there were lots of apps available for young people to make music with, and there are actually statistically more and more young people in the UK currently creating their own music and their own bettering. But how many children would hear not actually doing that? We don't know. So we've run this project to trial different apps to collect feedback. And if you look on the slide here, there's a photograph of a group of young people using both digital and acoustic instruments. We would have a speaker. We would plug this in with an iPad. We would download an app for them to try out. And then we would have a big whiteboard, as you can see in the photograph. We would draw visually what kind of apps we are using and how. And so here in this scene, we created something about a normal day in the light of a person waking up. So we created the sound of a fire lamp, the alarm clock, the sound of rain and wind outside, the sound of the traffic passing by. And so we really, really explored sounds that were available in the app to create a very good soundscape. So here's an example of an app that we use. I'm going to plug this into a speaker now. I'm using my mobile phone. So if we could just go on to the next slide, it will introduce the first app. This is the QZ app. As I remember, this is free. Available on the App Store. It can be used with Apple devices. I'm just switching this on now. What you have here, as you can see in the photograph, is eight different coloured boxes. I have used this with kindergarten children. And basically what you have is microphones, stimbos on the boxes. And what you would need to do is to press on the box and the box will automatically record whatever sounds you want to record. So I will press record on the other box here. So I'll put this off now and I'm going to play it back. I don't know why this didn't work. I'm going to play it back without the speaker on. On the other square, I'm going to do something that is vocal. I'll play it back now. So you could be going around in an environment. It could be in a school or it could be in the playground. It could be anywhere really. And you do a site visit with iPads, collecting sounds and coming back to the classroom and identifying the sounds that they're playing back. But you can also combine them if you play them at the same time. It's an incredible tool for storing sounds that you might want to use for a composition. So you're creating your own sound sample and they're ready. They are saved and ready for you to use when you want to use them as part of a performance. There is not a lot of time to talk about technology but I think the potential is very, very exciting. We do have a resource on our website with all the research that we've done to create a booklet. So if you go on our website, you can download the Vocalize report with all the apps listed and all the feedback that we've gained from the research. On the next slide please. The Modulate project is something that we have been running for a year now. It's a national project based in five regions of England and we're on our sixth region now. But it's been quite revealing. The aim of this project is very much about enabling deaf and hard of hearing children to be able to play musical instruments to access instrumental lessons and to take part in music groups. Now I'm not sure if this is the same in Canada but there are 121 music education hubs and they are funded by the government. So this funding has to be used with every single child and the government believes that this funding is life changing. So our intention is to make sure that deaf and hard of hearing children are on oxygen out. And so with this project we would go in running inspiration days with deaf role models saying we can do it so can you. We would give performances and we would provide a wide range of musical instruments for other children to get hands on with and give them the opportunity to take part in an informal performance. And so we would also provide training to our instrumental teacher and run music surgeries so that we can troubleshoot any issues while the lessons are happening. It's been very, very positive so far. We have done some survey during the inspiration day. I think it's important to show you what the results were. The moment next time please. So if you look here we have the West Midlands, Robinham and Devon. And we have, I don't remember, 120 children involved. If you can see here, most of the children in each of their areas are saying yes. They want to carry on playing music. I don't believe this is because they've been offered the opportunity and they are able to make the decision themselves that this is something that they would really enjoy and benefit from. If you look at Devon it says yes 66% that was the lowest rating and that was because it was a very rural area and deaf children are dispersed across the region. So we were faced with a barrier of transportation and we were only able to meet the children too. That's just one. So I think that implies that the less you do in terms of music, the less impact that you're making. So the West Midlands was under Robinham and we were very, very successful. We met them just for three days and I'm waiting with clearly much help. So obviously we've increased exposure, the more impact you can make and it's more likely that deaf and hard of hearing children will want to take part. On the next slide, we ask what instruments would you be most interested in learning? So you can see here that there's no real problems. We only had more children preparing brass instruments before. This was in the West Midlands. We had a leader who was teaching brass and so we just happened to have a lot of children enjoying the brass workshop. What you can see here that it proves that deaf and hard of hearing children can tend to choose any kind of instrument and therefore it's very important that we offer the widest possible range of instruments and not assume that one specific type is the best. On the next slide. So as part of the Modulate Project, what you see in this video is a group of young people. Some have a human rock, some of them are siblings and I was a bit worried about doing this because it was in the evening after school. Culturally, deaf and hard of hearing children in the UK are in mainstream schools so I was concerned that they didn't want to be part of an exclusively deaf group. So yes, during the first session there were only three young people coming along. But we had a teacher of the deaf who would go round to the parents, persuading more children to come and so the numbers grew eventually. And then the parents came and then there would be the instrumental tutor coming along and he thought I wanted to come too, I wanted to learn sign language. And so what we have here is a very mixed group, very integrated community coming together and just really enjoying this activity. So just have a look at this, it was only achieved in an hour, none of them have actually taken part in music making before. So I think it's just to do an idea of what potential there is if we have the video running please. No sound. So what we have here is an arrangement of the bellarra. Everybody is playing the rhythm. And the woodwind section here are playing the bellarra theme tune. But the real challenge here is to try and keep in time. And for everybody to come in at appropriate times with the conductor given the cue for people to start and stop. So there's a lot of eye contact and teamwork going on here. It's a very different process but it was a very useful exercise and I think it was a very proud moment at what we managed to achieve at that point. So I think that round up the webinar, I don't know if we've got any more time but I think we have some questions perhaps from some of the participants. We have a few questions here, which is the question. Okay, I'm unfamiliar with the term profoundly deaf. I'm not sure if the categories are the same in Canada, but we actually categorise hearing loss in the UK in four parts. Maldi, Bria, Modwerth and Perfand. Thank you. Our second question is, I have a multi-aged class that range for deaf to hard of hearing. How do I teach music all the range of deafness or hearing? It's a good question, but I think when you're employing a range of approaches keeping things visual, keeping things all practical and hands-on, I think that makes it as engaging as possible for everybody. I haven't got to keep an open mind and not assume that everybody is going to access music in their own way, which is why I keep them very practical. It's also, I believe that composing and creating music is a good way for everybody to be able to explore music in the wrong way. Like playing on musical instruments, having a go at different instruments, and then inviting them to choose which one they prefer in terms of playing and hearing it, and then inviting them to create music that they actually like and choose. So, yes, you need to keep an open mind. I think a time goes on. You start to be aware of everybody's preferences and how they want to access music. Thank you, Danny. I think those are the only two questions that we have. We just probably should be closing, and we just want to thank you for your presentation and your wonderful ideas. I was quite inspired by your activities, and particularly the one on the space theme, I thought that was quite outstanding. I hope to encourage all of you to look at the website, Music and the Deaf, for some information on technology links and other activities. So, thank you, Danny, for, and sorry about the audio on one of your videos. Maybe if attendees could view them again on their slides, they might be able to get the audio. So, we'd just like to close this afternoon again, Danny, for attending and presenting to us. Thank you very much. It's been a pleasure, and I do hope you're always being inspired. It's very, very important to me that this word goes out there, and that more and more people are able to access and enjoy music. So, good luck, and I hope you all have fun making music. Thank you. Bye.