UKAAF

UKAAF is an industry association which is setting standards and promoting best practice for quality accessible information based on user needs, enabling businesses and organisations to deliver a quality service to meet the needs of people with print impairments.

Music Subject Area

The Music Subject Area examines and makes recommendations for the production of music notation in both hard copy and electronically, covering braille music, Modified Stave Notation, large print music and Talking Scores.

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Guidance on Producing and Learning from Talking Scores

1. About Talking Scores

A Talking Score conveys in sound the information which musicians normally read from a printed page.

The UKAAF Music Subject Area definition of a talking scorestarts:

"A Talking Score is a verbal description of a print music score enabling the listener to learn the music without further instruction."

2. About this guide

This Guidance Note draws on some of the experience of those who have experimented with Talking Scores so far. It is designed to assist musicians already using Talking Scores, or who think they may be useful in their music-making. It contains hints and ideas that others have found useful, but is in no way prescriptive. Finding a formula of Talking Scores which suits your particular needs is a process of discovery, and you might find other ways that suit you better. If so, we should like to know about them.

3. Our long-term aim

We hope that eventually there maybe a fully agreed standard system for Talking Scores, as exists for braille music andfor stave notation.If and when that is in place, users should be able to obtain Talking Scores from different producers and other sources, confident that they will be able to read and understand them.

4. Our immediate objectives

Achieving our aim is still some way in the future, asTalking Scores are still experimental, even though there have been some short-lived trials led by either research projects or organisations for and of the blind in different countries, including RNIB in the 1990s. Up to now,individuals have had to devise their own systems, and of course there are no agreed standards yet.

Despite this, some immediate action is possible, as follows.We aim:

  • To create a community of Talking Scores users and producers to share experiences and ways of working who can trial and inform any protocols and minimum standards that are proposed.
  • To investigate ways in which various forms of technology, including Daisy (Digital Accessible Information System), might allow more efficient access to Talking Scores and navigation through them.
  • To investigate what impact our findings might have on access to music notation tools for screen readers.

Please see section 8 below to see how you can get involved with this work.

5. Equipment

Choosing the best equipment for you is important.The person listening to the Talking Score will seldom memorise a short section on first hearing, so will want to have equipment which can be handy to their instrument to be able to turn backfrequently.Some methods of recording require more technical skill than others.Precise advice is not possible as technology is constantly changing, but the following are suggested.

5.1. Daisy players

Advantages

  • Daisy players come in a range of sizes (See RNIB's Guide to choosing a Daisy audio player for the most comprehensive comparisons).
  • They can play either CDs (MP3, Daisy audio or music CD formats) or content from a removable memory stick or card.
  • They have a bookmarking facility which is useful for marking and locating different sections in a score, facilitating frequent turning back and forth.
  • They resume playback from the last played position for each CD or memory stick, saving much time.
  • They can operate from battery as well as mains.

Disadvantages

  • Producing Daisy content requires training and specialist equipment or software.
  • The full functionality of Daisy can only be realized with a dedicated Daisy player.

5.2. Digital Voice Recorders

Advantages

  • These play files in a range of formats, including MP3 or Windows Media Audio (WMA).
  • They are pocket-sized.
  • They work from batteries with typically up to 20 hours per charge.
  • They can store hundreds of hours of recordings which can be stored in folders for easy reference.
  • Recordings can be easily edited and corrected.
  • Files can be backed up on computer for safe storage and archiving and burnt to CD on demand.
  • Files can be instantlyexchanged electronically.

Disadvantages

  • Most models do not have a bookmark feature.
  • There is no easy way to rewind to a specific point in the music or jump large distances (having one bar per electronic file might be a useful work-around here).
  • Only the more expensive models have voice-guided menus.

5.3. Audio-cassette recorders and players

Advantages

  • They can be good for those less happy with more advanced technology.
  • Recording is easy and requires no training.
  • Tape recorders are small, so can be held on the lap of someone seated at a piano, for instance.
  • Winding back to replay short sections during learning is easy.

Disadvantages

  • Cassette recorders are old-fashioned (but still obtainable) though sourcing blank tapes is increasingly difficult and expensive.
  • There is no way of easily editing and correcting the recording.
  • Winding backwards or forwards a long way can be cumbersome.
  • There is no easy means of finding a specific point in the music, though tone indexing can help to a certain degree if each bar is numbered.
  • Tapes are mechanical and can wear out over time. Making a back-up on tape is difficult as twin deck tape recorders are no longer manufactured.
  • Tapes are analogue and backing up recordings onto computer or CD for storage or sharing requires extra software, cables and expertise.

6. Producing aTalking Score

Talking Scores can take many forms, from a computer file which can be read with a screen reader to a recording narrated by a human or synthetic voice. In all cases, a Talking Score will be produced by a sighted person with access to the notated music in collaboration with the user. Both will require a working knowledge of musical terms and conventions.This can be a creative process.There is usually more than one way to record a musical text, and different styles of piece often require variations in approach.

6.1. Agreeing conventions

Having said this, it is necessary at the start for the producer and the user to agree precisely how the different elements in the music will be described in speech. Consistency, clarityand brevity are essential. The suggestions below are offered on the assumption that some Talking Scores may eventually be made available for others to use via a loaning library or for sale. In this instance, a detailed explanatory note to the user explaining the conventions that have been used is considered essential. For one-off, bespoke Talking Scores which are not produced to be shared, the decision over what information to include or exclude can be agreed between the producer and user.

6.2. Starting Points

First give basic information about the piece being described:

  • name of the piece;
  • name of the composer and arranger;
  • name of the producer of the Talking Score.

Note: The following are good practice, and required by copyright legislation, whether or not the Talking Score is going to be used by an individual or made more widely available.

  • Copyright information;
  • ISBN/ISMN of the piece;
  • Publisher information and number;

6.3. Musical details about the piece:

  • Give the time and key signature and any directions, eg 'allegro con moto'.
  • Number each bar in pencil on the printed music, and say how many bars there are, to give the learner an idea ofthe length ofthe piece.
  • Identify any other important features, such as a change of time signature or tempo at a particular bar to give an idea of the shape of the piece.
  • Give any important information about how the Talking Score has been produced, such as any parts which have not been described, whether editorial markings have been noted, whether errors in the print have been corrected, any arrangements between the producer and the user which may help a future user of the Talking Score.

6.4. Deciding the unit of dictation

This is mainly an issue for keyboard music played with both hands.For instruments playing a single line or the voice there is little problem.For keyboard music, a good principle is to dictate in a way which enables the listener to work steadilyand systematically through the piece, receiving the details of the music as nearly as possible in the order they would if they were reading the printed score. The following methods have been tried.

  • One bar at a time, each hand separately.
  • Beat by beat within each bar. This is suitablewhere the music is more complex.The notes of each beatcan be dictated by namefrom bass to top, specifying any which are longer or shorter than the beat;(for instance where the beat is a crotchet, quavers and minims would be specified).For very complex pieces, dictation can be by half-beat.
  • A phrase ora few bars at a time, first the right hand part and then the left.The learner masters each hand part separately before putting them together.This is the method used by the RNIB during the 1990s, and is probably only successful with very simple pieces.The learner can experience difficultieswith more complex pieces, where for instance melody lines cross from one hand to another.

6.5. BarNumbers

You may wish to say the bar number at the start of each bar's dictation.When dictating beat by beat, say 1,2,3 etc before each beat.

6.6. Octave Names

Where a note (say C) is spoken, the listener needs to know 'which C'. The following octave names have been found useful:

  • 'mid or middle' for notes in the octave from middle C to the B above.
  • 'high, higher, or highest', and sometimes 'top' for octaves above 'mid'.
  • 'low, lower lowest, and bottom' for notes in octaves below 'mid'

The octave names only need to be restated ifthe music moves to another octave.It is not necessary ever to say 'treble or bass clef' as the octave names precisely fix the pitch of the note, but sometimes right and left hand need to be specified.

6.7. Key Signatures and Sharps and Flats

One way is to follow the print music, and only say 'sharp or flat' when these are not in the key signature. If you do this, you need to restate the key signature at frequent intervals, to replace the visual check that the print music givesat the start of every line.

Another method is to speak each sharp or flat, whether or not it is in the key signature.This makes following the score easier for thelistener or user, but they may lose a clear sense of key.

6.8. Note Values

It is probably easiest to use the conventional terms, such as crotchet or minim.Names can be shortened, for instance 'demi semi' for 'demi semi quaver'.

If dictating beat by beat, the value of this basic beat need not be restated for every note.For instance where the basic beat is a crotchet, only note values other than crotchets need be stated.

Note: The traditional UK terms for note lengths have been used here. Conventions for the USA system of whole, half and quarter notes may be used according to preference.

6.9. Other Information on the Printed Page

This is a problem.To statefull details of dynamics and other instructions such as fingeringon the recording can clutter it and make it more difficult to learn from.But the learner needs this information.Eventually, computer programs which can allow the user to switch between levels of verbosity (that is, what is described) might provide an ultimate solution, but in the meantime a 'belt and braces' approach is probably the only answer.

Two versions might be produced, one with the full information, and a simpler, learning version with only the very basic details; or the person making the recording might select only the most important additional information for inclusion on the recording, and impart the rest in discussion with the learner.This would defeat the long-term objective of making it possible to learn somethingentirely from the Talking Score, but can be a satisfactory interim solution. The latter option would only be appropriate for one-off, bespoke Talking Scores which were not likely to be shared.

6.10. Adding Musical Illustrations

Including musical illustrations is not essential but can be of help to the learner. How they are inserted is a matter of preference, but several options might be considered.

  • a. Each bar of description is followed by the equivalent bar of music, with the right and left hands being separated in the case of piano music.
  • b. Each phrase or line or section of description is followed by the equivalent bar of music, with the right and left hands being separated in the case of piano music.
  • c. The music is played several times. According to the piece, this could include versions with and/or without a metronome, cues, ornaments, dynamics and versions at slower tempi.
  • d. The music is played in full before or after the description.

7. Learning from a Talking Score

The biggest difference for those used to working from printed music, particularly for keyboard players,is that all notes have to be systematically memorised as you work through the score, until the piece very gradually takes shape. A little patience is needed until you get used to this method of working, but with easy pieces it should present little difficulty. It can be morelaborious and time consuming for more difficult and advanced pieces, especially for someone previously used to sight-reading a piece right through quickly and easily. However, the result can be very satisfying and worthwhile, especially for anyone who has become frustrated by not being able to read music at all.

8. Your experiences

We are keen to hear from you, whether you have experience of using Talking Scores or think you might find them useful. If you already use Talking Scores, please tell us about any successes or methods that you have found especially useful, or any problems you encounter.We will incorporate any good ideas in future editions of this guidance note.If you have not used Talking Scores before, but would like to contribute to our research, please do get in touch. If you agree for us to keep your contact details on our data base, we will inform you from time to time of any developments in Talking Scores.

9. For further information

For further information about Talking Scores, please refer to the UKAAF Music Subject Area's current position and introduction document. This can be found on the UKAAF website at and the RNIB website at These documents can be made available in alternative formats upon request.

10. Contact

Contact James Risdon, RNIB Music Officer by email to or by telephone on 020 7391 2273.

TS002 UKAAF Music Subject Area, Talking Scores Working Group

October 2013