ABSTRACT ⠠⠠⠁⠃⠌⠗⠁⠉⠞
The preference of fitting in in order to share your opinions or
perspective with the people around you. Having a sense of belonging that
strengthens one’s confidence in self-perception and character, positively aligning with the society and its needs. Competence and appreciation are both key factors known to affect our identification of ourselves and others. Learning both informal and formal shapes on how to interact and be beneficial within a social perspective. One mistake splitting us from the group could lead to many setbacks from both ends. A missed job position, ignorance of useful skills, disregard for more efficiency and much more. This research will target in the normalization of blind and deaf societies. Not relying on pity or charity credit. Having a platform both sides are commonly detached from and forming a standardized connection will prove to show the notion of normalization despite frequent public perception. Like triads in jazz music. Notations that don’t belong within the key of the performed melody but still work out. The research will take these societies as notations and triads to apply within the space. Society as a whole perceived as one notation, no matter how one may look
or sound, like a triad, deserves a sense of belonging within the musical piece. ⠠⠮⠀⠏⠗⠑⠋⠻⠰⠑⠀⠷⠀⠋⠊⠞⠞⠬⠀⠔⠀⠔⠀⠕⠗⠙⠻⠀⠞⠕⠀⠩⠜⠑⠀⠽⠗⠀⠕⠏⠔⠊⠕⠝⠎⠀⠕⠗⠀⠏⠻⠎ ⠏⠑⠉⠞⠊⠧⠑⠀⠾⠀⠮⠀⠏⠀⠜⠨⠙⠀⠽⠲⠀⠠⠓⠁⠧⠬⠀⠁⠀⠎⠢⠎⠑⠀⠷⠀⠃⠑⠇⠕⠝⠛⠬⠀⠞⠀⠌⠗⠑⠝⠛⠮ ⠝⠎⠀⠐⠕⠠⠴⠎⠀⠉⠕⠝⠋⠊⠙⠰⠑⠀⠔⠀⠎⠑⠇⠋⠤⠏⠻⠉⠑⠏⠰⠝⠀⠯⠀⠐⠡⠂⠀⠏⠕⠎⠊⠞⠊⠧⠑⠇⠽⠀⠁ ⠇⠊⠛⠝⠬⠀⠾⠀⠮⠀⠎⠕⠉⠊⠑⠞⠽⠀⠯⠀⠭⠎⠀⠝⠑⠫⠎⠲⠀⠠⠉⠕⠍⠏⠑⠞⠰⠑⠀⠯⠀⠁⠏⠏⠗⠑⠉⠊⠁⠰⠝⠀ ⠜⠑⠀⠃⠕⠹⠀⠅⠑⠽⠀⠋⠁⠉⠞⠕⠗⠎⠀⠐⠅⠝⠀⠞⠕⠀⠁⠖⠑⠉⠞⠀⠳⠗⠀⠊⠙⠑⠝⠞⠊⠋⠊⠉⠁⠰⠝⠀⠷⠀⠳⠗ ⠧⠎⠀⠯⠀⠕⠮⠗⠎⠲⠀⠠⠇⠑⠜⠝⠬⠀⠃⠕⠹⠀⠔⠿⠍⠁⠇⠀⠯⠀⠿⠍⠁⠇⠀⠩⠁⠏⠑⠎⠀⠕⠝⠀⠓⠪⠀⠞⠕⠀⠔⠞ ⠻⠁⠉⠞⠀⠯⠀⠆⠀⠃⠑⠝⠑⠋⠊⠉⠊⠁⠇⠀⠾⠔⠀⠁⠀⠎⠕⠉⠊⠁⠇⠀⠏⠻⠎⠏⠑⠉⠞⠊⠧⠑⠲⠀⠠⠐⠕⠀⠍⠊⠌⠁ ⠅⠑⠀⠎⠏⠇⠊⠞⠞⠬⠀⠥⠀⠋⠀⠮⠀⠛⠗⠳⠏⠀⠉⠙⠀⠇⠂⠙⠀⠞⠕⠀⠸⠍⠀⠎⠑⠞⠃⠁⠉⠅⠎⠀⠋⠀⠃⠕⠹⠀⠑⠝ ⠙⠎⠲⠀⠠⠁⠀⠍⠊⠎⠎⠫⠀⠚⠕⠃⠀⠏⠕⠎⠊⠰⠝⠂⠀⠊⠛⠝⠕⠗⠨⠑⠀⠷⠀⠥⠎⠑⠰⠇⠀⠎⠅⠊⠇⠇⠎⠂⠀⠙⠊⠎ ⠗⠑⠛⠜⠙⠀⠿⠀⠍⠀⠑⠋⠋⠊⠉⠊⠑⠝⠉⠽⠀⠯⠀⠍⠡⠀⠍⠲⠀ ⠠⠹⠀⠗⠑⠎⠑⠜⠡⠀⠺⠀⠞⠜⠛⠑⠞⠀⠔⠀⠮⠀⠝⠕⠗⠍⠁⠇⠊⠵⠁⠰⠝⠀⠷⠀⠃⠇⠀⠯⠀⠙⠑⠁⠋⠀⠎⠕⠉⠊⠑⠞ ⠊⠑⠎⠲⠀⠠⠝⠀⠗⠑⠇⠽⠬⠀⠕⠝⠀⠏⠰⠽⠀⠕⠗⠀⠡⠜⠰⠽⠀⠉⠗⠫⠊⠞⠲⠀⠠⠓⠁⠧⠬⠀⠁⠀⠏⠇⠁⠞⠿⠍⠀⠃ ⠕⠹⠀⠎⠊⠙⠑⠎⠀⠜⠑⠀⠉⠕⠍⠍⠕⠝⠇⠽⠀⠙⠑⠞⠁⠡⠫⠀⠋⠀⠯⠀⠿⠍⠬⠀⠁⠀⠌⠯⠜⠙⠊⠵⠫⠀⠉⠕⠝⠝⠑⠉ ⠰⠝⠀⠺⠀⠏⠗⠕⠧⠑⠀⠞⠕⠀⠩⠪⠀⠮⠀⠝⠕⠰⠝⠀⠷⠀⠝⠕⠗⠍⠁⠇⠊⠵⠁⠰⠝⠀⠙⠑⠎⠏⠊⠞⠑⠀⠋⠗⠑⠟⠥⠑ ⠝⠞⠀⠏⠥⠃⠇⠊⠉⠀⠏⠻⠉⠑⠏⠰⠝⠲⠀ ⠠⠇⠀⠞⠗⠊⠁⠙⠎⠀⠔⠀⠚⠁⠵⠵⠀⠍⠥⠎⠊⠉⠲⠀⠠⠝⠕⠞⠁⠞⠊⠕⠝⠎⠀⠞⠀⠙⠕⠝⠠⠴⠞⠀⠃⠑⠇⠰⠛⠀⠾⠔ ⠀⠮⠀⠅⠑⠽⠀⠷⠀⠮⠀⠏⠻⠿⠍⠫⠀⠍⠑⠇⠕⠙⠽⠀⠃⠀⠌⠀⠐⠺⠀⠳⠲⠀⠠⠮⠀⠗⠑⠎⠑⠜⠡⠀⠺⠀⠞⠁⠅⠑⠀⠘ ⠮⠀⠎⠕⠉⠊⠑⠞⠊⠑⠎⠀⠵⠀⠝⠕⠞⠁⠞⠊⠕⠝⠎⠀⠯⠀⠞⠗⠊⠁⠙⠎⠀⠞⠕⠀⠁⠏⠏⠇⠽⠀⠾⠔⠀⠮⠀⠎⠏⠁⠉⠑ ⠲⠀⠠⠎⠕⠉⠊⠑⠞⠽⠀⠵⠀⠁⠀⠱⠕⠇⠑⠀⠏⠻⠉⠧⠙⠀⠵⠀⠐⠕⠀⠝⠕⠞⠁⠰⠝⠂⠀⠝⠕⠀⠍⠁⠞⠞⠻⠀⠓⠪⠀⠐ ⠕⠀⠍⠁⠽⠀⠇⠕⠕⠅⠀⠕⠗⠀⠎⠨⠙⠂⠀⠇⠀⠁⠀⠞⠗⠊⠁⠙⠂⠀⠙⠑⠎⠻⠧⠑⠎⠀⠁⠀⠎⠑⠝⠎⠑⠀⠷⠀⠃⠑⠇⠕ ⠝⠛⠬⠀⠾⠔⠀⠮⠀⠍⠥⠎⠊⠉⠁⠇⠀⠏⠊⠑⠉⠑⠲⠀⠀⠀
TABLE OF CONTENTS CHAPTER 1 : INTRODUCTION TO TOPIC SOCIAL PSYCHOLOGY IN KL SOCIETIES AND MUSIC MUSIC CULTURE IN MALAYSIA MUSIC AS A TIME CAPSULE MUSIC & LANGUAGE MUSICAL INFLUENCE ON LOCALS STEREOTYPES TOWARDS DISABLED HOW THE DEAF EXPERIENCE MUSIC MUSIC STEMMING FROM THE VISUALLY IMMPAIRED TRIADS AND JAZZ RESEARCH QUESTIONS SIGNIFICANCE OF RESEARCH LIMITATIONS OF RESEARCH
CHAPTER 2 : DESIGN PROPOSAL INTRODUCTION TO MutE WHAT DOES IT MEAN TO BE BLIND? WHAT DOES IT MEAN TO BE DEAF? ECHOLOCATION COMPENSATING VISUAL IMPAIRMENT LIVING ORGANISMS AND SONAR MECHANIZING SONAR HEARING BY SKIN & BONE CONDUCTION CONSTANT VIBRATING SURROUNDINGS SOUND SENSATIONS APPLICATION OF THEORIES TOWARDS SPACE SILENCE & DARKNESS SOUND TEXTURE SOUND STRUCTURE SOUND VISION CLIENT: DIALOGUE IN THE DARK USER DEMOGRAPHY: BLIND AND DEAF INDIVIDUALS AGED 18+ PROGRAMS ANECHOIC EXPERIENCE INTERNAL REVERBS VISUAL CYMATICS SOUND MASSAGE ACTIVITIES NOISE SHELTER HERTZ YOUR NOTES ASMR DOCKET A QUIET PLACE THE DARK LOUNGE MELODICAL EXPERIMENTATION TUNE IN PUNCH HOLE PRINTING TEXTURES AND PARTICLE LIBRARY
SHAPE SMITH BASS AND PITCH RUB-DOWN 360° SOUND CAPSULE PROJECT MECHANISM SOUND WAVE ABSORPTION INETRIOR INSTRUMENT STRUCTURE SOUND DETECTION CHLADNI PLATE PUNCH HOLE PRINTER MutE BRAND PRODUCTS
CHAPTER 3 : PROJECT ANALYSIS PRECEDENT STUDIES DESIGN INSPIRATION: WADADA LEO SMITH ANKRASMATION’S SIMILARITIES TO BAUHAUS UNDERSTANDING SOUND ARCHITECHTURE ARCHITECTURE FOR THE BLIND DEAFSPACE MARKET ANALYSIS COMMUNICATION & CONNECTION BENEFITS MALAYSIA ASSOCIATION OF THE BLIND RCF DEAF MISSIONS MALAYSIA SITE SELECTION CRITERIA MERDEKA SQUARE & THE NATIONAL TEXTILE MUSEUM VISIBILITY AND SIGHT DISTANCE NOISE LEVELS ACCESSIBILITY ACCESSIBILITY TOWARDS THE BLIND AND DEAF STANDARDS AND REQUIREMENTS OF SERVICE ARCHITECTURE STANDARDS FOR THE DEAF ARCHITECTURE STANDARDS FOR THE BLIND
CHAPTER 4 : RESEARCH SUMMARY CHAPTER 5 : FINAL DESIGN SITE + NARRATIVE PROGRAMMING DRAWINGS AND DESIGN DEVELOPMENT TECHNICAL DRAWINGS
REFLECTION REFERENCES
⠠⠠⠞⠁⠃⠇⠑⠀⠠⠠⠷⠀⠠⠠⠉⠕⠝⠞⠢⠞⠎ ⠠⠠⠡⠁⠏⠞⠻⠀⠼⠁⠀⠒⠀⠠⠠⠔⠞⠗⠕⠙⠥⠉⠰⠝⠀⠠⠠⠞⠕⠀⠠⠠⠞⠕⠏⠊⠉ ⠀⠀⠀⠀⠀⠀⠠⠠⠎⠕⠉⠊⠁⠇⠀⠠⠠⠏⠎⠽⠡⠕⠇⠕⠛⠽⠀⠠⠠⠔⠀⠠⠠⠅⠇ ⠀⠀⠀⠀⠀⠀⠠⠠⠎⠕⠉⠊⠑⠞⠊⠑⠎⠀⠠⠠⠯⠀⠠⠠⠍⠥⠎⠊⠉ ⠀⠀⠀⠀⠀⠀⠠⠠⠍⠥⠎⠊⠉⠀⠠⠠⠉⠥⠇⠞⠥⠗⠑⠀⠠⠠⠔⠀⠠⠠⠍⠁⠇⠁⠽⠎⠊⠁ ⠀⠀⠀⠀⠀⠀⠠⠠⠍⠥⠎⠊⠉⠀⠠⠠⠵⠀⠠⠁⠀⠠⠠⠐⠞⠀⠠⠠⠉⠁⠏⠎⠥⠇⠑ ⠀⠀⠀⠀⠀⠀⠠⠠⠍⠥⠎⠊⠉⠀⠈⠯⠀⠠⠠⠇⠁⠝⠛⠥⠁⠛⠑ ⠀⠀⠀⠀⠀⠀⠠⠠⠍⠥⠎⠊⠉⠁⠇⠀⠠⠠⠔⠋⠇⠥⠰⠑⠀⠠⠠⠕⠝⠀⠠⠠⠇⠕⠉⠁⠇⠎ ⠀⠀⠀⠀⠀⠀⠠⠠⠌⠻⠑⠕⠞⠽⠏⠑⠎⠀⠠⠠⠞⠪⠜⠙⠎⠀⠠⠠⠙⠊⠎⠁⠃⠇⠫ ⠀⠀⠀⠀⠀⠀⠠⠠⠓⠪⠀⠠⠠⠮⠀⠠⠠⠙⠂⠋⠀⠠⠠⠑⠭⠏⠻⠊⠰⠑⠀⠠⠠⠍⠥⠎⠊⠉ ⠀⠀⠀⠀⠀⠀⠠⠠⠍⠥⠎⠊⠉⠀⠠⠠⠌⠑⠍⠍⠬⠀⠠⠠⠋⠀⠠⠠⠮⠀⠠⠠⠧⠊⠎⠥⠁⠇⠇⠽⠀⠠⠠⠊⠍⠍⠏⠁⠊⠗⠫ ⠀⠀⠀⠀⠀⠀⠠⠠⠞⠗⠊⠁⠙⠎⠀⠠⠠⠯⠀⠠⠠⠚⠁⠵⠵ ⠀⠀⠀⠀⠀⠀⠠⠠⠗⠑⠎⠑⠜⠡⠀⠠⠠⠐⠟⠎ ⠀⠀⠀⠀⠀⠀⠠⠠⠎⠊⠛⠝⠊⠋⠊⠉⠨⠑⠀⠠⠠⠷⠀⠠⠠⠗⠑⠎⠑⠜⠡ ⠀⠀⠀⠀⠀⠀⠠⠠⠇⠊⠍⠊⠞⠁⠞⠊⠕⠝⠎⠀⠠⠠⠷⠀⠠⠠⠗⠑⠎⠑⠜⠡ ⠠⠠⠡⠁⠏⠞⠻⠀⠼⠃⠀⠒⠀⠠⠠⠙⠑⠎⠊⠛⠝⠀⠠⠠⠏⠗⠕⠏⠕⠎⠁⠇ ⠀⠀⠀⠀⠀⠀⠠⠠⠔⠞⠗⠕⠙⠥⠉⠰⠝⠀⠠⠠⠞⠕⠀⠠⠍⠥⠞⠑ ⠀⠀⠀⠀⠀⠀⠠⠠⠱⠁⠞⠀⠠⠠⠙⠕⠑⠎⠀⠠⠠⠭⠀⠠⠠⠍⠑⠁⠝⠀⠠⠠⠞⠕⠀⠠⠠⠆⠀⠠⠠⠃⠇⠦ ⠀⠀⠀⠀⠀⠀⠠⠠⠱⠁⠞⠀⠠⠠⠙⠕⠑⠎⠀⠠⠠⠭⠀⠠⠠⠍⠑⠁⠝⠀⠠⠠⠞⠕⠀⠠⠠⠆⠀⠠⠠⠙⠑⠁⠋⠦ ⠀⠀⠀⠀⠀⠀⠠⠠⠑⠡⠕⠇⠕⠉⠁⠰⠝⠀⠠⠠⠉⠕⠍⠏⠢⠎⠁⠞⠬⠀⠠⠠⠧⠊⠎⠥⠁⠇⠀⠠⠠⠊⠍⠏⠁⠊⠗⠰⠞ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠠⠠⠇⠊⠧⠬⠀⠠⠠⠕⠗⠛⠁⠝⠊⠎⠍⠎⠀⠠⠠⠯⠀⠠⠠⠎⠕⠝⠜ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠠⠠⠍⠑⠡⠁⠝⠊⠵⠬⠀⠠⠠⠎⠕⠝⠜ ⠀⠀⠀⠀⠀⠀⠠⠠⠓⠑⠜⠬⠀⠠⠠⠃⠽⠀⠠⠠⠎⠅⠔⠀⠈⠯⠀⠠⠠⠃⠐⠕⠀⠠⠠⠉⠕⠝⠙⠥⠉⠰⠝ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠠⠠⠉⠕⠝⠌⠁⠝⠞⠀⠠⠠⠧⠊⠃⠗⠁⠞⠬⠀⠠⠠⠎⠥⠗⠗⠳⠝⠙⠬⠎ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠠⠠⠎⠨⠙⠀⠠⠠⠎⠑⠝⠎⠁⠞⠊⠕⠝⠎ ⠀⠀⠀⠀⠀⠀⠠⠠⠁⠏⠏⠇⠊⠉⠁⠰⠝⠀⠠⠠⠷⠀⠠⠠⠮⠕⠗⠊⠑⠎⠀⠠⠠⠞⠪⠜⠙⠎⠀⠠⠠⠎⠏⠁⠉⠑ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠠⠠⠎⠊⠇⠰⠑⠀⠈⠯⠀⠠⠠⠙⠜⠅⠰⠎ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠠⠠⠎⠨⠙⠀⠠⠠⠞⠑⠭⠞⠥⠗⠑ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠠⠠⠎⠨⠙⠀⠠⠠⠌⠗⠥⠉⠞⠥⠗⠑ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠠⠠⠎⠨⠙⠀⠠⠠⠧⠊⠨⠝ ⠀⠀⠀⠀⠀⠀⠠⠠⠉⠇⠊⠑⠝⠞⠒⠀⠠⠠⠙⠊⠁⠇⠕⠛⠥⠑⠀⠠⠠⠔⠀⠠⠠⠮⠀⠠⠠⠙⠜⠅ ⠀⠀⠀⠀⠀⠀⠠⠠⠥⠎⠻⠀⠠⠠⠙⠑⠍⠕⠛⠗⠁⠏⠓⠽⠒⠀⠠⠠⠃⠇⠀⠠⠠⠯⠀⠠⠠⠙⠑⠁⠋⠀⠠⠠⠔⠙⠊⠧⠊⠙⠥⠁⠇⠎⠀⠠⠠⠁⠛⠫⠀⠼⠁⠓ ⠐⠖ ⠀⠀⠀⠀⠀⠀⠠⠠⠏⠗⠕⠛⠗⠁⠍⠎ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠠⠠⠁⠝⠑⠡⠕⠊⠉⠀⠠⠠⠑⠭⠏⠻⠊⠰⠑ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠠⠠⠔⠞⠻⠝⠁⠇⠀⠠⠠⠗⠐⠑⠃⠎ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠠⠠⠧⠊⠎⠥⠁⠇⠀⠠⠠⠉⠽⠍⠁⠞⠊⠉⠎ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠠⠠⠎⠨⠙⠀⠠⠠⠍⠁⠎⠎⠁⠛⠑ ⠀⠀⠀⠀⠀⠀⠠⠠⠁⠉⠞⠊⠧⠊⠞⠊⠑⠎ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠠⠠⠝⠕⠊⠎⠑⠀⠠⠠⠩⠑⠇⠞⠻ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠠⠠⠓⠻⠞⠵⠀⠠⠠⠽⠗⠀⠠⠠⠝⠕⠞⠑⠎ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠠⠠⠁⠎⠍⠗⠀⠠⠠⠙⠕⠉⠅⠑⠞ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠠⠁⠀⠠⠠⠟⠥⠊⠑⠞⠀⠠⠠⠏⠇⠁⠉⠑ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠠⠠⠮⠀⠠⠠⠙⠜⠅⠀⠠⠠⠇⠳⠝⠛⠑ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠠⠠⠍⠑⠇⠕⠙⠊⠉⠁⠇⠀⠠⠠⠑⠭⠏⠻⠊⠍⠑⠝⠞⠁⠰⠝ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠠⠠⠞⠥⠝⠑⠀⠠⠠⠔ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠠⠠⠏⠥⠝⠡⠀⠠⠠⠓⠕⠇⠑⠀⠠⠠⠏⠗⠔⠞⠬ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠠⠠⠞⠑⠭⠥⠗⠑⠎⠀⠠⠠⠯⠀⠠⠠⠐⠏⠊⠉⠇⠑⠀⠠⠠⠇⠊⠃⠗⠜⠽
⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠠⠠⠩⠁⠏⠑⠀⠠⠠⠎⠍⠊⠹ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠠⠠⠃⠁⠎⠎⠀⠠⠠⠯⠀⠠⠠⠏⠊⠞⠡⠀⠠⠠⠗⠥⠃⠤⠙⠪⠝ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠼⠉⠋⠚⠘⠚⠀⠠⠠⠎⠨⠙⠀⠠⠠⠉⠁⠏⠎⠥⠇⠑ ⠀⠀⠀⠀⠀⠀⠠⠠⠏⠗⠕⠚⠑⠉⠞⠀⠠⠠⠍⠑⠡⠁⠝⠊⠎⠍ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠠⠠⠎⠨⠙⠀⠠⠠⠺⠁⠧⠑⠀⠠⠠⠁⠃⠎⠕⠗⠏⠰⠝ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠠⠠⠔⠑⠞⠗⠊⠕⠗⠀⠠⠠⠔⠌⠗⠥⠰⠞⠀⠠⠠⠌⠗⠥⠉⠞⠥⠗⠑ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠠⠠⠎⠨⠙⠀⠠⠠⠙⠑⠞⠑⠉⠰⠝ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠠⠠⠡⠇⠁⠙⠝⠊⠀⠠⠠⠏⠇⠁⠞⠑ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠠⠠⠏⠥⠝⠡⠀⠠⠠⠓⠕⠇⠑⠀⠠⠠⠏⠗⠔⠞⠻ ⠀⠀⠀⠀⠀⠀⠠⠍⠥⠞⠑ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠠⠠⠃⠗⠯⠀⠠⠠⠏⠗⠕⠙⠥⠉⠞⠎ ⠀⠀⠀⠀⠀⠀⠠⠠⠗⠑⠋⠻⠢⠉⠑⠎ ⠠⠠⠡⠁⠏⠞⠻⠀⠼⠉⠀⠒⠀⠠⠠⠏⠗⠕⠚⠑⠉⠞⠀⠠⠠⠁⠝⠁⠇⠽⠎⠊⠎ ⠀⠀⠀⠀⠀⠀⠠⠠⠏⠗⠑⠉⠫⠢⠞⠀⠠⠠⠌⠥⠙⠊⠑⠎ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠠⠠⠙⠑⠎⠊⠛⠝⠀⠠⠠⠔⠎⠏⠊⠗⠁⠰⠝⠒⠀⠠⠠⠺⠁⠙⠁⠙⠁⠀⠠⠠⠇⠑⠕⠀⠠⠠⠎⠍⠊⠹ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠠⠠⠁⠝⠅⠗⠁⠎⠍⠁⠞⠊⠕⠝⠠⠴⠠⠎⠀⠠⠠⠎⠊⠍⠊⠇⠜⠊⠞⠊⠑⠎⠀⠠⠠⠞⠕⠀⠠⠠⠃⠁⠥⠓⠁⠥⠎ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠠⠠⠐⠥⠌⠯⠬⠀⠠⠠⠎⠨⠙⠀⠠⠠⠜⠡⠊⠞⠑⠡⠞⠥⠗⠑ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠠⠠⠜⠡⠊⠞⠑⠉⠞⠥⠗⠑⠀⠠⠠⠿⠀⠠⠠⠮⠀⠠⠠⠃⠇ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠠⠠⠙⠂⠋⠎⠏⠁⠉⠑ ⠀⠀⠀⠀⠀⠀⠠⠠⠍⠜⠅⠑⠞⠀⠠⠠⠁⠝⠁⠇⠽⠎⠊⠎ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠠⠠⠉⠕⠍⠍⠥⠝⠊⠉⠁⠰⠝⠀⠈⠯⠀⠠⠠⠒⠝⠑⠉⠰⠝⠀⠠⠠⠆⠝⠑⠋⠊⠞⠎ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠠⠠⠍⠁⠇⠁⠽⠎⠊⠁⠀⠠⠠⠁⠎⠎⠕⠉⠊⠁⠰⠝⠀⠠⠠⠷⠀⠠⠠⠮⠀⠠⠠⠃⠇ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠠⠠⠗⠉⠋⠀⠠⠠⠙⠑⠁⠋⠀⠠⠠⠍⠊⠎⠎⠊⠕⠝⠎⠀⠠⠠⠍⠁⠇⠁⠽⠎⠊⠁ ⠀⠀⠀⠀⠀⠀⠠⠠⠎⠊⠞⠑⠀⠠⠠⠎⠑⠇⠑⠉⠰⠝⠀⠠⠠⠉⠗⠊⠞⠻⠊⠁ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠠⠠⠍⠻⠙⠑⠅⠁⠀⠠⠠⠎⠟⠥⠜⠑⠀⠈⠯⠀⠠⠠⠮⠀⠠⠠⠝⠁⠞⠊⠕⠝⠁⠇⠀⠠⠠⠞⠑⠭⠞⠊⠇⠑⠀⠠⠠⠍⠥⠎⠑ ⠥⠍ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠠⠠⠧⠊⠎⠊⠃⠊⠇⠰⠽⠀⠠⠠⠯⠀⠠⠠⠎⠊⠣⠞⠀⠠⠠⠙⠊⠌⠨⠑ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠠⠠⠝⠕⠊⠎⠑⠀⠠⠠⠇⠑⠧⠑⠇⠎ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠠⠠⠁⠒⠑⠎⠎⠊⠃⠊⠇⠰⠽ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠠⠠⠁⠉⠉⠑⠎⠎⠊⠃⠊⠇⠰⠽⠀⠠⠠⠞⠪⠜⠙⠎⠀⠠⠠⠮⠀⠠⠠⠃⠇⠀⠠⠠⠯⠀⠠⠠⠙⠑⠁⠋ ⠀⠀⠀⠀⠀⠀⠠⠠⠌⠯⠜⠙⠎⠀⠠⠠⠯⠀⠠⠠⠗⠑⠟⠥⠊⠗⠑⠍⠢⠞⠎⠀⠠⠠⠷⠀⠠⠠⠎⠻⠧⠊⠉⠑ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠠⠠⠜⠡⠊⠞⠑⠉⠞⠥⠗⠑⠀⠠⠠⠌⠯⠜⠙⠎⠀⠠⠠⠿⠀⠠⠠⠮⠀⠠⠠⠙⠑⠁⠋ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠠⠠⠜⠡⠊⠞⠑⠉⠞⠥⠗⠑⠀⠠⠠⠌⠯⠜⠙⠎⠀⠠⠠⠿⠀⠠⠠⠮⠀⠠⠠⠃⠇ ⠠⠠⠡⠁⠏⠞⠻⠀⠼⠙⠀⠒⠀⠠⠠⠗⠑⠎⠑⠜⠡⠀⠠⠠⠎⠥⠍⠍⠜⠽ ⠠⠠⠡⠁⠏⠞⠻⠀⠼⠑⠀⠒⠀⠠⠠⠋⠔⠁⠇⠀⠠⠠⠙⠑⠎⠊⠛⠝ ⠀⠀⠀⠀⠀⠀⠠⠠⠎⠊⠞⠑⠀⠐⠖⠀⠠⠠⠝⠜⠗⠁⠞⠊⠧⠑ ⠀⠀⠀⠀⠀⠀⠠⠠⠏⠗⠕⠛⠗⠁⠍⠍⠬ ⠀⠀⠀⠀⠀⠀⠠⠠⠙⠗⠁⠺⠬⠎⠀⠠⠠⠯⠀⠠⠠⠙⠑⠎⠊⠛⠝⠀⠠⠠⠙⠑⠧⠑⠇⠕⠏⠰⠞ ⠀⠀⠀⠀⠀⠀⠠⠠⠞⠑⠡⠝⠊⠉⠁⠇⠀⠠⠠⠙⠗⠁⠺⠬⠎ ⠠⠠⠗⠑⠋⠇⠑⠉⠰⠝ ⠠⠠⠗⠑⠋⠻⠢⠉⠑⠎
CHAPTER 1: INTRODUCTION TO TOPIC
⠠⠠⠡⠁⠏⠞⠻⠀⠼⠁
⠠⠠⠔⠞⠗⠕⠙⠥⠉⠰⠝ ⠀⠠⠠⠞⠕⠀⠠⠠⠞⠕⠏⠊⠉
ticed. However, way better
echo localization performance in the blind does not fundamentally suggest an upgraded sensitivity to sound signals. It might reflect the truth that the blind is more utilized to consciously pay more attention to sound and are naturally more recognizable with this kind of task (Dufour, Després, & Candas, 2005). Like
most students, blind students start to
memorize reading from a very young age. Some begin learning to read music
within a one
to three years’ timeline. Making use of various
textures for notes (sandpaper, cardboard, etc.), along with verbal explanations from the teacher, the blind can perceive some thought of the arrangement process of music. The shapes of printed notes and symbols by touch, and the straight movement of notations, much of this data
they gather is transferred into braille music (Smaligo, 1998).
MMING FROM THE VISUALLY IMMPAIRED
in forms as detailed object detection, questioning of localization and object shape or surface segregation. The upgraded capacity of blind people to utilize sound has also been no-
STE
sound or echo processes. Emphasizing their ability to prepare echo signals or sound notations when compared to sighted people. Improved reverberate handling in blind humans was watched
MUSIC
Numerous studies conducted have estimated that blind people make up for their visual deficit by honing
CHAPTER 2: DESIGN PROPOSAL
⠠⠠⠡⠁⠏⠞⠻⠀⠼⠃
⠠⠠⠙⠑⠎⠊⠛⠝⠀⠠⠠⠏⠗⠕⠏⠕⠎⠁⠇
CHAPTER 3: PROJECT ANALYSIS
⠠⠠⠡⠁⠏⠞⠻⠀⠼⠉⠒
⠠⠏⠠⠗⠠⠕⠠⠚⠠⠑⠠⠉⠠⠞ ⠠⠁⠠⠝⠠⠁⠠⠇⠠⠽⠠⠎⠠⠊⠠⠎
CHAPTER 4: RESEARCH SUMMARY
⠠⠠⠡⠁⠏⠞⠻⠀⠼⠙
⠠⠠⠗⠑⠎⠑⠜⠡⠀⠠⠠⠎⠥⠍⠍⠜⠽
CHAPTER 5: FINAL DESIGN
⠠⠠⠡⠁⠏⠞⠻⠀⠼⠑⠒
⠠⠠⠋⠔⠁⠇⠀⠠⠠⠙⠑⠎⠊⠛⠝