Monday, March 23, 2015
I’ve taught many wonderful students over the years, but one in particular stands out — Daniel Gillen, who is a physics major at Haverford College, and a lyrical pianist with a strong artistic voice. That Daniel has been blind since infancy doesn’t seem to hinder him much. Part of his confidence stems from the remarkable education he’s received from a place he often speaks about, the Filomen M. D’Agostino Greenberg Music School at the Lighthouse Guild in New York City.
Mignon Gillen, Daniel’s mom, a dancer and choreographer, invited me to visit the school when I was in Manhattan recently. We met in the sunny lobby of the Lighthouse Guild Headquarters on East 59th Street, where people were hurrying in from the wind and cold. Designed by Mitchell/Giurgola Architects, the building has an open feel that seems to draw people in and up, with purpose. Here a person who is visually impaired can receive eye care, vision rehabilitation, academic and practical training. At first glance, the only clue that patrons here might have special needs are the elevator buttons, which are large and colorful. Mignon and I rode up to the fourth floor music school. There we were welcomed by Executive Director Dr. Leslie Jones; Dr. Lisa Johnson, the director of administration, and Daniel’s longtime piano teacher and Director of Musical Studies, Dr. Dalia Sakas.
For the next hour or so, I had a chance to absorb a world of music within this small space, where every square inch is needed; besides desks for staff and Leslie’s office, there are teaching studios for individual music instruction, and a library that houses an extensive collection of large-print and Braille music scores. Because the school accommodates many types of vision loss, it makes available many types of scores. Dalia showed me a music score in which a single measure of very large noteheads took up an entire 8.5 X 11 page. “That’s for an 80-year-old woman with macular degeneration who wanted to play the piano again.”
When a student needs a piece of music that doesn’t exist in the library, there are a few options: a request to the Library of Congress, a commission to Dancing Dots, a company in Pennyslvania that specializes in creating scores for the visually impaired. Or, as Dalia told me, “I make it.”
If needed, Dalia can generate print-on-demand large-print or Braille music scores with computer software on-site. (Keep in mind that Braille music must be learned at a relatively young age, when the fingertips are sensitive enough to feel the tiny raised dots that comprise the system of notation.) Now Lighthouse students are creating their own scores. One room of the school is devoted to music technology, with a MIDI keyboard/computer lab, and the capacity to teach MIDI sequencing, recording, as well as notation programs such as Finale, Sibelius, Lime Light (to produce large-print scores) and Goodfeel (to produce Braille scores).
Specialization for vision loss aside, what the Music School at the Lighthouse Guild offers its students, who range in age from pre-school to ninety, is a multi-faceted music education. They can study theory, ear-training, and solfege, receive private instrumental lessons, and participate in vocal ensemble, jazz improv, pop/rock ensemble, choir (directed by Dalia) and dance. Students perform in recitals, performathons, and in an annual concert co-produced with the Metropolitan Museum of Art, a collaboration that has successfully run for eighteen years. Not long ago, in an extraordinary effort, the school put on a professionally staged version of Benjamin Britten’s “Noye’s Fludde,” which received high praise from Anthony Tomassini in the New York Times, who only lamented that there hadn’t been enough funding for a longer run.
The staff and teachers at the Lighthouse Guild Music School work with the kind of devotion and creativity that can’t be measured in hours or dollars. They’ve built a model that is both unique and dynamic, and believe the community music school is where the future of music will thrive. To get the message out, they’ve invited music education majors from local universities to serve as interns at the school. They also give talks to share their vision. Anyone who meets Dalia and Leslie will realize that the future of music is bright. Their enthusiasm and entrepreneurial spirit reflect their joy in music-making, and their determination to give their students a rich, undimmed future.