Barry, D. (1985). Bad Habits. Garden City, NY : Doubleday.
2.
Barry, D. (2000). Book of Bad Songs. Kansas City, MO: Andrews McMeel Publishing.
3.
Bender, C., & Spink, J.C. (Producers), & Haines, R. (Director). (1986). Children of a Lesser God [Motion picture]. United States: Paramount Pictures
4.
Berenbeim, G. (Writer), & Allen, D. (Director). (1991, February 21). A word in edgewise [Television series episode]. In D. Allen (Producer), A different world. Studio City, CA: Carsey-Werner.
5.
British deaf band tour in North America. (1991, February). Silent News, p. 5.
6.
Coe, F. (Producer), & Penn, A. (Director). (1962). The Miracle Worker [Motion picture]. United States: United Artists.
7.
Darrow, A.A. (1979). The beat reproduction response of subjects with normal and impaired hearing: An empirical comparison. Journal of Music Therapy, 16(2), 6—11.
8.
Darrow, A.A. (1984). A comparison of rhythmic responsiveness in normal and hearing impaired children and an investigation of the relationship of rhythmic responsiveness to the suprasegmental aspects of speech perception . Journal of Music Therapy, 21(2), 48—66.
9.
Darrow, A.A. (1993). The role of music in deaf culture: Implications for music educators. Journal of Research in Music Education , 41(2), 93—110. (Some of the participant quotes used in this presentation were cited as excerpts in the discussion section of the 1993 article, but are quoted here in full from the original data.)
10.
Darrow, A.A. (2000, November). Conversations with deaf children about music. Paper presented at the meeting of the American Music Therapy Association, St. Louis, MO.
11.
Darrow, A.A. (2006). The role of music in deaf culture: Deaf students' perception of emotion in music. Journal of Music Therapy43(1), 2—15.
12.
Darrow, A.A., & Gfeller, K. (1991). A study of public school music programs mainstreaming hearing impaired students. Journal of Music Therapy, 28(1), 23—39.
13.
Darrow, A.A., & Heller, G.N. (1985). Early advocates of music education for the hearing impaired: William Wolcott Turner and David Ely Barlett. Journal of Research in Music Education, 33(4), 269—279.
14.
Darrow, A.A., & Loomis, D.M. (1999). Music and deaf culture: Images from the media and their interpretation by deaf and hearing students. Journal of Music Therapy, 36(2), 88—109.
15.
Do you feel comfortable having hearing people signing songs to deaf audience? (1993, July). Deaf Life, p. 60.
16.
Kaplan, P.B. (1977). A criterion-referenced comparison of rhythmic responsiveness in normal and educable mentally retarded children. Unpublished doctoral dissertation, University of Michigan, Ann Arbor.
17.
Hickox, S.B. (Producer), & Arthur, K. (Director). (1999). Bridge to Silence [Motion picture made for television]. United States: Vic Video.
18.
Merriam, A. (1964). The anthropology of music. Evanston, IL: Northwestern University Press.
19.
Michael Moneur's (Cynical) Quotations. (n.d.). Retrieved August 30, 2006, from http://www.quotationspage.com/quote/912.html .
20.
Miss Deaf California resigns over piano-playing ban. (1992, January). Silent News, p. 2. (Reprinted from San Jose Mercury News , October 30, 1991).
21.
Screen Arts Production (Producer), & Miller, R.E. (Director). (1968). The Heart Is a Lonely Hunter [Motion picture]. United States: Warner Brothers.
22.
Should contestants in Deaf-sponsored pageants be allowed to sing or play music as part of their talent routines? (1992, December). Deaf Life, p. 34.
23.
Stop the music! Deaf activist disrupts interpreters' conference, declares signed songs inappropriate for deaf. (1992, December). Silent News, p. 1.
24.
Turner, W.W., & Bartlett, D.E.(October 1848). Music among the deaf and dumb . American Annals of the Deaf and Dumb2, 1—6.
25.
Wald, J. (Producer), & Negulesco, J. (Director). (1948). Johnny Belinda [Motion picture]. United States: Warner Brothers.
26.
Wizzan, J. (Producer), & Markowitz, R. (Director). (1979). Voices [Motion picture]. United States: MGM.
Supplementary Material
Please find the following supplemental material available below.
For Open Access articles published under a Creative Commons License, all supplemental material carries the same license as the article it is associated with.
For non-Open Access articles published, all supplemental material carries a non-exclusive license, and permission requests for re-use of supplemental material or any part of supplemental material shall be sent directly to the copyright owner as specified in the copyright notice associated with the article.
