Currently, there still exist barriers that prevent a satisfactory connection between music education and the visually impaired population. This is due to the teachers' lack of preparation and their general ignorance of the functioning of the Braille music system, the materials, specialist support, and other tools needed for the inclusion of this type of students in the classroom. In order to familiarize the educational community with the resources and specialist support involved in inclusive music teaching, we conducted and analysed semi-structured interviews with the following persons: (1) the music specialists at the Organización Nacional de Ciegos Españoles Resource Centre (Spanish National Organization of the Blind); (2) a music teacher who had two visually impaired students in her classes; and (3) a blind student who studied music and had specialized in piano performance. The contributions made by this article consist of the categorization of the different teaching-learning resources involved in inclusion, information on how specialist support can be provided to facilitate these resources, and the relationships between resources and specialist support taking into account the point of view of teacher as the main figure responsible for inclusion in the music classroom.

In most cases, music teachers lack specific strategies to give an appropriate response to the educational needs of students with visual impairments. Taking into account the need to find new approaches that are helpful for music teachers to go through the many challenges of inclusion, this article explores the potential that active music methods may have in the inclusive music education of students with visual disabilities. This exploratory study uses qualitative content analysis in combination with a case study method, intending to contrast the resources found in three active music methods (Ward’s, Dalcroze’s, and Suzuki’s) with the real experience of a music teacher. Results include ten resources which promote learning for all students along with the description of how the teacher used them in real life, examples and guidelines to be applied in the music classroom. Conclusions show that the pedagogies analyzed offer a wide range of opportunities for multi-sensory learning through the resources presented -which can also be transferred to other music pedagogies-, and confirm that active music methods facilitate inclusion in environments where students with visual disabilities are present.

Efecto de la terapia de resincronización ventricular en los parámetros de disfunción endotelial y función sistólica izquierda en pacientes con insuficiencia cardíaca crónica y bloqueo completo de rama izquierda

The basic training of music teachers does not usually contemplate inclusive resources intended to assist visually impaired students. Given the need for specific training, the purpose of this study was to collect together the perceptions of a group of 13 pre-primary, primary, and high school in-service music teachers, as regards a professional development course that addresses the inclusion of pupils with visual impairments. The teachers’ perceptions about the resources provided, the procedures used and the impact of what was learned during the course were obtained by means of open questionnaires and a semi-structured interview. The findings highlight the acquisition of inclusive resources as a starting point for the teachers’ sense of preparedness in the classroom and show the impact of active learning and direct contact with visually impaired students on the development of a positive attitude toward inclusion. Factors and lessons contributing to guiding the design of future professional development programs in the field of inclusive music education for visually impaired students were identified.

La educación musical de estudiantes con discapacidad visual plantea actualmente innumerables retos en lo que se refiere a la inclusión. Este artículo se propone conocer en profundidad lo que existe en cuanto a formación del profesorado en este ámbito específico e identificar los aspectos más cruciales que deben tenerse en cuenta. Con este propósito, se plantea un diseño que combina el análisis cualitativo de contenido y el análisis cualitativo de documentos, mediante el cual se analizan dos programas de formación especializados en este campo y, adicionalmente, se analizan documentos relevantes sobre esta temática publicados en los últimos 20 años. Los documentos son examinados con el propósito de ver si pueden aportar datos adicionales a los suministrados por las formaciones, e incluyen guías didácticas, artículos sobre buenas prácticas y documentos de investigación. Tras un detallado análisis, emergen unas categorías y subcategorías que muestran los aspectos necesarios para gestionar el reto de la inclusión en el aula de música, dando luz a los procedimientos y recursos pedagógicos que se han de tener en cuenta en programas de formación de este tipo. Para concluir, los documentos confirman la información encontrada en las formaciones en materia de recursos, y se revela la necesidad de que las aportaciones de este estudio sean tenidas en cuenta para el diseño de futuros programas de formación al profesorado de música en el contexto de la inclusión de estudiantes con deficiencias visuales.