From Vision Australia. This is talking vision. And now here's your host, Sam Colley.

From Vision Australia. This is talking vision. And now here's your host, Sam Colley.

Hello everyone. It's great to be here with you. And for the next half hour, we talk matters of blindness and low vision. Welcome to the program. This week we pay tribute to Dorothy Hamilton OAM, who sadly passed away recently at the age of 97. This week you'll hear from three different people. First up we hear from Glenn Morrow. He presented a documentary entitled Meet Dorothy Hamilton back in 2015. Would be playing a small excerpt from that detailing her early life and university studies. Then after that, you'll hear from Stella Glory, who caught up with Dorothy a few years ago to speak about the central role that Braille, and especially braille music, has played throughout Dorothy's life. And finally, you hear from one of Dorothy's former students, Tess Herbert, who caught up with her a couple of years ago when Dorothy received the Lifetime Achievement Award from Vision Australia for her services to Braille music in 2021 at the Vision Australia Annual General Meeting. I hope you enjoy this special episode of Talking Vision. And now here's an excerpt from mate Dorothy Hamilton, presented by Glenn Morrow. You'll also hear from Gary Stinchcombe, a long term colleague of Dorothy's, at the Royal Victorian Institute for the Blind in East Burwood, where Dorothy boarded from a young age before returning later in life as a Braille music teacher.

Hello everyone. It's great to be here with you. And for the next half hour, we talk matters of blindness and low vision. Welcome to the program. This week we pay tribute to Dorothy Hamilton OAM, who sadly passed away recently at the age of 97. This week you'll hear from three different people. First up we hear from Glenn Morrow. He presented a documentary entitled Meet Dorothy Hamilton back in 2015. Would be playing a small excerpt from that detailing her early life and university studies. Then after that, you'll hear from Stella Glory, who caught up with Dorothy a few years ago to speak about the central role that Braille, and especially braille music, has played throughout Dorothy's life. And finally, you hear from one of Dorothy's former students, Tess Herbert, who caught up with her a couple of years ago when Dorothy received the Lifetime Achievement Award from Vision Australia for her services to Braille music in 2021 at the Vision Australia Annual General Meeting. I hope you enjoy this special episode of Talking Vision. And now here's an excerpt from mate Dorothy Hamilton, presented by Glenn Morrow. You'll also hear from Gary Stinchcombe, a long term colleague of Dorothy's, at the Royal Victorian Institute for the Blind in East Burwood, where Dorothy boarded from a young age before returning later in life as a Braille music teacher.

Dorothy attended boarding school at the Royal Victorian Institute for the blind from 1932, and she talks here very fondly about her boarding school experience.

Dorothy attended boarding school at the Royal Victorian Institute for the blind from 1932, and she talks here very fondly about her boarding school experience.

That was a wonderful experience, really, because we learnt the skills of life, we learnt how to look after ourselves, we learnt to make our beds. At the age of six. We had a girl delegated to help us as that tender age and we had to strip our beds. Uh, turn the horsehair mattresses every day and then proceed to make our beds. Other duties we had at school as we grew older was to set the table, to wash the dishes and do all the little domestic things like that. Every night we all knelt down beside our beds and said our prayers. I don't know what the boys did, but the girls did, and he did that. In fact, there was a rule brought in at one stage where you weren't allowed to if a if a girl was in a room and a boy came in, you had to get up and go out. That was very, very strict. The Braille frame. We just had to write from right to left and dot out our our letters dot by dot. In this cell it has six little, six little niches which make the dots go on the right hand side, one two, three left hand side four, five, six. So you press one dot after the other, and then when you take it the paper out, you turn it over and read, of course, from left to right. So you're actually reading opposite from what you've been writing. We at school never realised that we were reading differently from writing because you learned to read or you learnt to write, you know, and it was only when we would have lots of visitors coming around which were auxiliary people, and they'd come round to see us working in school. And when we demonstrated Braille to them, then the teacher would tell them that we write right to left, but read left to right. We hadn't even realized what we were doing. We just did it. We learned typing that was everybody learned typing as from grade five, and we were taught by a blind teacher. I never knew really how he managed. It didn't enter our head that he wouldn't know. So we just everybody learned typing and that's been wonderful. My mother used to say how I'd always turn my head as a baby, even if there was any music that came on. And I started to sing when I was very, very young, about 14 months, you know, started singing anyway. And, um, so, um, music was always my forte. And from quite a little girl, I always said, I'm going to be a music teacher and I'm going to go to the Conservatorium in Melbourne, and I'm going to get a Bachelor of Music, and I'm going to teach sighted children in a sighted school. Now, why, I don't know, but that's what I that's what I always said I was going to do so, but I went to I went to the conservatory, on the tram on my own from Prahran. And I got to the door and I'll never forget it. I met there was a, um, a student who belonged to my my church, and he was at the door to meet me. I never forgot that. I've always said that. I'll never forget that he was there. And he said, I'll take you where you have to go. And he was a very, very quiet person, extremely quiet. So for him to have done that was a big thing. Even the office staff would say, can I take you over to the tram? Cross me over to the tram. And that'd be girls in the office, and the teachers would take you over to the tram, for example, or students and, uh, they included me in anything. They weren't, I didn't I, I think the mere fact that, um, they were so happy to help me and, you know, in writing out my work, I think that was a great, great help. And another thing was, when we'd go to a lecture, they were sort of more like tutorials, I suppose you'd call them. We'd all have done our homework. And, um, so the lecturer would play your work. So if I'd done, you'd done a harmony exercises and or, or counterpoint exercises, they would play your work through. So those other students valued the work, your musical work too. So they just really, um, accepted you as one of them. You had to pay to go to the university, had to pay your fees. So unless you could do that, you didn't get in. Uh, also, you could get in on a on a scholarship on a, you know, bursary of some description. And you had the opportunity if you won an exhibition at the end of the year where you came first or second or third. Uh, there was, um, you know, remuneration for that. But it, it was a privilege. It was an absolute privilege to go there.

That was a wonderful experience, really, because we learnt the skills of life, we learnt how to look after ourselves, we learnt to make our beds. At the age of six. We had a girl delegated to help us as that tender age and we had to strip our beds. Uh, turn the horsehair mattresses every day and then proceed to make our beds. Other duties we had at school as we grew older was to set the table, to wash the dishes and do all the little domestic things like that. Every night we all knelt down beside our beds and said our prayers. I don't know what the boys did, but the girls did, and he did that. In fact, there was a rule brought in at one stage where you weren't allowed to if a if a girl was in a room and a boy came in, you had to get up and go out. That was very, very strict. The Braille frame. We just had to write from right to left and dot out our our letters dot by dot. In this cell it has six little, six little niches which make the dots go on the right hand side, one two, three left hand side four, five, six. So you press one dot after the other, and then when you take it the paper out, you turn it over and read, of course, from left to right. So you're actually reading opposite from what you've been writing. We at school never realised that we were reading differently from writing because you learned to read or you learnt to write, you know, and it was only when we would have lots of visitors coming around which were auxiliary people, and they'd come round to see us working in school. And when we demonstrated Braille to them, then the teacher would tell them that we write right to left, but read left to right. We hadn't even realized what we were doing. We just did it. We learned typing that was everybody learned typing as from grade five, and we were taught by a blind teacher. I never knew really how he managed. It didn't enter our head that he wouldn't know. So we just everybody learned typing and that's been wonderful. My mother used to say how I'd always turn my head as a baby, even if there was any music that came on. And I started to sing when I was very, very young, about 14 months, you know, started singing anyway. And, um, so, um, music was always my forte. And from quite a little girl, I always said, I'm going to be a music teacher and I'm going to go to the Conservatorium in Melbourne, and I'm going to get a Bachelor of Music, and I'm going to teach sighted children in a sighted school. Now, why, I don't know, but that's what I that's what I always said I was going to do so, but I went to I went to the conservatory, on the tram on my own from Prahran. And I got to the door and I'll never forget it. I met there was a, um, a student who belonged to my my church, and he was at the door to meet me. I never forgot that. I've always said that. I'll never forget that he was there. And he said, I'll take you where you have to go. And he was a very, very quiet person, extremely quiet. So for him to have done that was a big thing. Even the office staff would say, can I take you over to the tram? Cross me over to the tram. And that'd be girls in the office, and the teachers would take you over to the tram, for example, or students and, uh, they included me in anything. They weren't, I didn't I, I think the mere fact that, um, they were so happy to help me and, you know, in writing out my work, I think that was a great, great help. And another thing was, when we'd go to a lecture, they were sort of more like tutorials, I suppose you'd call them. We'd all have done our homework. And, um, so the lecturer would play your work. So if I'd done, you'd done a harmony exercises and or, or counterpoint exercises, they would play your work through. So those other students valued the work, your musical work too. So they just really, um, accepted you as one of them. You had to pay to go to the university, had to pay your fees. So unless you could do that, you didn't get in. Uh, also, you could get in on a on a scholarship on a, you know, bursary of some description. And you had the opportunity if you won an exhibition at the end of the year where you came first or second or third. Uh, there was, um, you know, remuneration for that. But it, it was a privilege. It was an absolute privilege to go there.

Dorothy is a trailblazer, no doubt. Um, and that's why when people tell me these days, oh, you know, you can't do something I never say. Never say can't do anything. Um. And I think Dorothy's indicative of that. You know, she really had to work very hard. Um, but she did it, you know, with absolute good grace.

Dorothy is a trailblazer, no doubt. Um, and that's why when people tell me these days, oh, you know, you can't do something I never say. Never say can't do anything. Um. And I think Dorothy's indicative of that. You know, she really had to work very hard. Um, but she did it, you know, with absolute good grace.

That scary stinchcombe. Gary worked as a teacher at the Royal Victorian Institute for the blind. Gary is also totally blind and talks here about how he came to know Dorothy.

That scary stinchcombe. Gary worked as a teacher at the Royal Victorian Institute for the blind. Gary is also totally blind and talks here about how he came to know Dorothy.

People would talk about Dorothy Hamilton and this Dorothy Hamilton that. And I think it was when I actually started work at, at the school at Burwood is when I really, um, heard more about her. And people used to tell me that this is, you know, lovely, totally blind lady who's really very practical. She was, um, had lots of common sense ideas and things like that. She actually thought of, um, vision impairment and blindness in a broader perspective in a in a very practical way.

People would talk about Dorothy Hamilton and this Dorothy Hamilton that. And I think it was when I actually started work at, at the school at Burwood is when I really, um, heard more about her. And people used to tell me that this is, you know, lovely, totally blind lady who's really very practical. She was, um, had lots of common sense ideas and things like that. She actually thought of, um, vision impairment and blindness in a broader perspective in a in a very practical way.

I'm Sam Colley and you're listening to Talking Vision on Vision Australia Radio. Associated stations of Reading Radio and the Community Radio Network. This week on Talking Vision, we are paying tribute to the life of Dorothy Hamilton OAM, a pioneer of Braille music, as well as being a music teacher and transcriber through Vision Australia. And before that, our VRB for the best part of five decades. If you missed any part of the program this week or you'd love to listen to it again, Talking vision is available on the Vision Australia Radio website at VA radio.org. That's VA radio.org. Or you can find the program on the podcast app of your choice or through the Vision Australia library. And now coming up next we hear from Stella Glory as she caught up with Dorothy back in 2018 to speak about the crucial role of Braille and Braille music in Dorothy's life.

I'm Sam Colley and you're listening to Talking Vision on Vision Australia Radio. Associated stations of Reading Radio and the Community Radio Network. This week on Talking Vision, we are paying tribute to the life of Dorothy Hamilton OAM, a pioneer of Braille music, as well as being a music teacher and transcriber through Vision Australia. And before that, our VRB for the best part of five decades. If you missed any part of the program this week or you'd love to listen to it again, Talking vision is available on the Vision Australia Radio website at VA radio.org. That's VA radio.org. Or you can find the program on the podcast app of your choice or through the Vision Australia library. And now coming up next we hear from Stella Glory as she caught up with Dorothy back in 2018 to speak about the crucial role of Braille and Braille music in Dorothy's life.

When I think of Braille and Braille music, I always think of Dorothy Hamilton, who is with me now to discuss Braille. Thanks for your time today, Dorothy.

When I think of Braille and Braille music, I always think of Dorothy Hamilton, who is with me now to discuss Braille. Thanks for your time today, Dorothy.

It's a pleasure.

It's a pleasure.

I should actually, uh, let's give the listeners a little bit more context. So you are Braille music teacher or just a music teacher in general? I should say.

I should actually, uh, let's give the listeners a little bit more context. So you are Braille music teacher or just a music teacher in general? I should say.

Yes. I'm a music teacher and I have taught braille music as well.

Yes. I'm a music teacher and I have taught braille music as well.

And you are also the first blind woman in the southern hemisphere to get your Bachelor of Music.

And you are also the first blind woman in the southern hemisphere to get your Bachelor of Music.

Yes, I believe so.

Yes, I believe so.

So you wouldn't have done it without Braille. I understand, I.

So you wouldn't have done it without Braille. I understand, I.

Just could not have done anything. I couldn't have coped in life without Braille. I used it every day of my life.

Just could not have done anything. I couldn't have coped in life without Braille. I used it every day of my life.

Let's talk a little bit about that. You were a big fan and you used of the frame and stylus.

Let's talk a little bit about that. You were a big fan and you used of the frame and stylus.

Yes. When I went to school right back in 1932, that's when we learnt our braille with using the braille frame and stylus. The frame, uh, represented. It was a wooden board with holes down either side. And it had a guide which had six dots, uh, in a cell, 25 cells in a line. And there were two lines. So when you finished writing in the one line, uh, one frame, uh, set of lines, uh, you moved the guide down to the next line of holes so that in the end, then we had a whole page, the little cells in the guide had six little niches now called one, two, three, four, five, six, but we call them top right, middle right, bottom right, top left, middle left, bottom left. And that's how we. So we dotted each little, um letter each dot to make a letter. For example we would do .145 for the letter D or perhaps .123 for L. And but of course we'd say top right, middle right, bottom right.

Yes. When I went to school right back in 1932, that's when we learnt our braille with using the braille frame and stylus. The frame, uh, represented. It was a wooden board with holes down either side. And it had a guide which had six dots, uh, in a cell, 25 cells in a line. And there were two lines. So when you finished writing in the one line, uh, one frame, uh, set of lines, uh, you moved the guide down to the next line of holes so that in the end, then we had a whole page, the little cells in the guide had six little niches now called one, two, three, four, five, six, but we call them top right, middle right, bottom right, top left, middle left, bottom left. And that's how we. So we dotted each little, um letter each dot to make a letter. For example we would do .145 for the letter D or perhaps .123 for L. And but of course we'd say top right, middle right, bottom right.

When you're saying this, do you think there's people listening, nodding their heads to this old frame and stylus uses?

When you're saying this, do you think there's people listening, nodding their heads to this old frame and stylus uses?

Oh, maybe some are.

Oh, maybe some are.

But, uh, you said you used the frame and stylus up till 1977, so all the way through university and something happened that when the Perkins Brailler was in Australia in the 1960s, but you weren't using it, but you were kind of pushed into using the Perkins Brailler. Can you tell us that story?

But, uh, you said you used the frame and stylus up till 1977, so all the way through university and something happened that when the Perkins Brailler was in Australia in the 1960s, but you weren't using it, but you were kind of pushed into using the Perkins Brailler. Can you tell us that story?

Yes, Stella said. I used the frame in style right up to 1977. I had no need to use anything else. Um, in 1976, George Finlay, who was a well known Braille musician and he did all the Braille music transcribing, said to me one day, you know, you'll have to learn to use this, this Perkins, everybody else is. So he showed me how to use it. Then he gave me one and he said, now put your frame and style away, and you use only the Perkins. So he went out the door and I thought, that's. What he thinks. So I put the Perkins away and in used the frame and style. I was very comfortable with that. 12 months later, the phone rang one night and it was his reader who said to me, George is very, very ill, and we're in the midst of doing a very important piece of music. Could I come round and dictate it to you? I said yes, but my heart sank because I'd forgotten how to even put the paper into the Perkins. So I quickly rang a friend and said, Hilda, Hilda, how do I put the paper in? Marge came the next day and read the music to me. I will remember it forever.

Yes, Stella said. I used the frame in style right up to 1977. I had no need to use anything else. Um, in 1976, George Finlay, who was a well known Braille musician and he did all the Braille music transcribing, said to me one day, you know, you'll have to learn to use this, this Perkins, everybody else is. So he showed me how to use it. Then he gave me one and he said, now put your frame and style away, and you use only the Perkins. So he went out the door and I thought, that's. What he thinks. So I put the Perkins away and in used the frame and style. I was very comfortable with that. 12 months later, the phone rang one night and it was his reader who said to me, George is very, very ill, and we're in the midst of doing a very important piece of music. Could I come round and dictate it to you? I said yes, but my heart sank because I'd forgotten how to even put the paper into the Perkins. So I quickly rang a friend and said, Hilda, Hilda, how do I put the paper in? Marge came the next day and read the music to me. I will remember it forever.

So Marge was your reader?

So Marge was your reader?

It was. Yes. Well, she was George's reader. And so she read this piece to me, and I had to. It was a massive undertaking, I can tell you to just use the Perkins because it was everything was turned around where, as we had on the right hand side of the using the frame and style was one, two, three and the and then the left hand side of the cell, four, five, six. When you use the Perkins it was reversed. So one, two, three was on the left and four, five, six on the right. So I can tell you it was not an easy undertaking, but it taught me a lesson.

It was. Yes. Well, she was George's reader. And so she read this piece to me, and I had to. It was a massive undertaking, I can tell you to just use the Perkins because it was everything was turned around where, as we had on the right hand side of the using the frame and style was one, two, three and the and then the left hand side of the cell, four, five, six. When you use the Perkins it was reversed. So one, two, three was on the left and four, five, six on the right. So I can tell you it was not an easy undertaking, but it taught me a lesson.

Well, what lesson did it teach you? Taught me.

Well, what lesson did it teach you? Taught me.

A lesson. When I'm taught something, use it. Yes. And so of course, the frame and style, if I can explain it, was more like you using a pen and or pencil. And the Perkins was like using the typewriter.

A lesson. When I'm taught something, use it. Yes. And so of course, the frame and style, if I can explain it, was more like you using a pen and or pencil. And the Perkins was like using the typewriter.

Now we do need to talk about. Or. I really want to talk about your music. Brailling like, what do you use to.

Now we do need to talk about. Or. I really want to talk about your music. Brailling like, what do you use to.

Well, now, when I first learned the piano, we all learned piano at school. And the teacher would, um, tell us what the notes to play and also play them on the other pianos so trained our ear very well. But we were we learnt by rote, we learnt Braille music, but we didn't really put it to practical use. We just learnt it. Um, it was, wasn't till I was about, it was 14 and went to a sighted teacher at the Conservatorium and he sent me so much work to do that I couldn't rely on somebody just playing it to me and learning it by rote. So I had to learn it and learn it well and correctly, everything correctly. And that got me really moving and using my Braille music. And I can tell you, I use it every day, just about I certainly use Braille every day. And I have had enormous amount of use out of Braille music, not only learning it myself, but teaching it to others.

Well, now, when I first learned the piano, we all learned piano at school. And the teacher would, um, tell us what the notes to play and also play them on the other pianos so trained our ear very well. But we were we learnt by rote, we learnt Braille music, but we didn't really put it to practical use. We just learnt it. Um, it was, wasn't till I was about, it was 14 and went to a sighted teacher at the Conservatorium and he sent me so much work to do that I couldn't rely on somebody just playing it to me and learning it by rote. So I had to learn it and learn it well and correctly, everything correctly. And that got me really moving and using my Braille music. And I can tell you, I use it every day, just about I certainly use Braille every day. And I have had enormous amount of use out of Braille music, not only learning it myself, but teaching it to others.

Dorothy Hamilton, it's always a pleasure having you on the program. It's been a long time since you were on last. And Dorothy Hamilton, who is a musician in her own right and also a Braille music teacher and a Braille transcriber. Thanks for your time today.

Dorothy Hamilton, it's always a pleasure having you on the program. It's been a long time since you were on last. And Dorothy Hamilton, who is a musician in her own right and also a Braille music teacher and a Braille transcriber. Thanks for your time today.

Thank you. Stella, it's been a pleasure.

Thank you. Stella, it's been a pleasure.

And now, finally this week, we hear from Tess Herbert, a former student of Dorothy's at the Braille music camp who caught up with Dorothy for an interview on Talking Vision in November of 2021 following the Vision Australia AGM, where Dorothy received a Lifetime Achievement Award for her services to the Braille music community. You'll hear from Tess now as she reminisces with Dorothy about their time together as student and teacher at the Braille Music Camp.

And now, finally this week, we hear from Tess Herbert, a former student of Dorothy's at the Braille music camp who caught up with Dorothy for an interview on Talking Vision in November of 2021 following the Vision Australia AGM, where Dorothy received a Lifetime Achievement Award for her services to the Braille music community. You'll hear from Tess now as she reminisces with Dorothy about their time together as student and teacher at the Braille Music Camp.

We sung a lot of beautiful choral music at the Braille Music camp. I was there for four years, and that's where I where I learnt about how beautiful classical music could be. I was a bit of a, you know, a bit of a bit of a surly teenager. Um, but I learned all about classical music, and you actually taught me in my first year. So, I mean, tell me about Braille music camp. How did you, you know, how did you go about setting that up?

We sung a lot of beautiful choral music at the Braille Music camp. I was there for four years, and that's where I where I learnt about how beautiful classical music could be. I was a bit of a, you know, a bit of a bit of a surly teenager. Um, but I learned all about classical music, and you actually taught me in my first year. So, I mean, tell me about Braille music camp. How did you, you know, how did you go about setting that up?

That's a very interesting story, actually. In the very early 80s, uh, we blind musicians, and I might add that here in Melbourne from the vibe school, they came, they became about ten Bachelors of music that went through the Melbourne University Conservatorium. And I think that is really amazing and needs really documenting. Um, it was because of all the influence we had with those blind teachers. Yes. Now. So one day we thought. Well, let's all get together and make music. Let's have a weekend of making music. So we did. We? We stayed at the Burwood School when the children were at on holidays for a weekend, and we had lots of fun, made lots of music, did lots of things, and we decided, goodness, we'd never really sight read from Braille. Perhaps we should do that. So we did. And oh dear, we would. We weren't too good, I can tell you. But we had a little choir and and and we battled on and, uh, we thought we were not too bad by the time we finished, but we thought we did that for about two years. And then we thought, look, we can't keep this. This is wonderful. This is really wonderful. We can't keep this to ourselves. We must, um. Involve the children in, pass it on to them. So in 1984, there was a conference of teachers of the Blind in Adelaide. And so we said, well, we're going to go there too, and we'll show them what music can do for blind children, because perhaps they don't even know, because integration had just started. And we said, now that there's integration come into it, um, the children are all being integrated to other schools. We must what can we do? So, uh, Ian Cooper and Roma said, let's have a camp here at Frensham. This was, uh, Frensham was a school is a school up in New South Wales in Mittagong. And they said, well, we'll be able to get you and have it hold it at Frensham. So in 1980. So we proceeded to work on that idea. And in 1986 we started with the first camp, and from there on it's gone from every year right up to now. I think the last two years it hasn't because of the Covid. But right after then, every year we've met and it's grown and grown and grown from that little start. Yes. So it's a very interesting beginning, I think.

That's a very interesting story, actually. In the very early 80s, uh, we blind musicians, and I might add that here in Melbourne from the vibe school, they came, they became about ten Bachelors of music that went through the Melbourne University Conservatorium. And I think that is really amazing and needs really documenting. Um, it was because of all the influence we had with those blind teachers. Yes. Now. So one day we thought. Well, let's all get together and make music. Let's have a weekend of making music. So we did. We? We stayed at the Burwood School when the children were at on holidays for a weekend, and we had lots of fun, made lots of music, did lots of things, and we decided, goodness, we'd never really sight read from Braille. Perhaps we should do that. So we did. And oh dear, we would. We weren't too good, I can tell you. But we had a little choir and and and we battled on and, uh, we thought we were not too bad by the time we finished, but we thought we did that for about two years. And then we thought, look, we can't keep this. This is wonderful. This is really wonderful. We can't keep this to ourselves. We must, um. Involve the children in, pass it on to them. So in 1984, there was a conference of teachers of the Blind in Adelaide. And so we said, well, we're going to go there too, and we'll show them what music can do for blind children, because perhaps they don't even know, because integration had just started. And we said, now that there's integration come into it, um, the children are all being integrated to other schools. We must what can we do? So, uh, Ian Cooper and Roma said, let's have a camp here at Frensham. This was, uh, Frensham was a school is a school up in New South Wales in Mittagong. And they said, well, we'll be able to get you and have it hold it at Frensham. So in 1980. So we proceeded to work on that idea. And in 1986 we started with the first camp, and from there on it's gone from every year right up to now. I think the last two years it hasn't because of the Covid. But right after then, every year we've met and it's grown and grown and grown from that little start. Yes. So it's a very interesting beginning, I think.

Absolutely. And from there, I mean, I think up to a point, you've got about 60 kids coming in my first year. That was 2007.

Absolutely. And from there, I mean, I think up to a point, you've got about 60 kids coming in my first year. That was 2007.

And I can remember we used to have a little church service on a Sunday, and we had to practice a something to sing a choral work, and we sang Jesu, Joy of Man's Desiring. Oh, it was so long to learn that from Braille music.

And I can remember we used to have a little church service on a Sunday, and we had to practice a something to sing a choral work, and we sang Jesu, Joy of Man's Desiring. Oh, it was so long to learn that from Braille music.

Well, I can understand because a lot of people hadn't done I mean, I've done a little bit of Braille music with you at our RV and a little bit, you know, with my piano teacher back home. But I didn't know a lot about Braille music, but, you know, to the idea that we could all sight read and learn, you know, up to six choral pieces was just amazing. And didn't we all sound wonderful at the end of it?

Well, I can understand because a lot of people hadn't done I mean, I've done a little bit of Braille music with you at our RV and a little bit, you know, with my piano teacher back home. But I didn't know a lot about Braille music, but, you know, to the idea that we could all sight read and learn, you know, up to six choral pieces was just amazing. And didn't we all sound wonderful at the end of it?

I know. Well, as I say, our first great performance was Jesu, Joy of Man's Desiring and his Church Service.

I know. Well, as I say, our first great performance was Jesu, Joy of Man's Desiring and his Church Service.

And that's by J.S. Bach's.

And that's by J.S. Bach's.

It is.

It is.

Well, I you know, I think lots of people came out, came out of Braille music camp with different things. I learned a little bit about Braille music, especially from you. Um, you taught me a lot about Braille music, and I was very competitive with the other boy who we were. You know, I was in the same little, um, two person class with. I liked beating him, um, because he never stops talking. Um, and but but, you know, aside from Braille music, what I, what I really got and I think what a lot of people got, um, was classical music and an appreciation of classical music. So I think that's Braille music has done wonderful things. But you, you know, you didn't just inspire people at Braille music camp. You also did at Vibe and Vision Australia, and now you're getting an award this year. How does that feel?

Well, I you know, I think lots of people came out, came out of Braille music camp with different things. I learned a little bit about Braille music, especially from you. Um, you taught me a lot about Braille music, and I was very competitive with the other boy who we were. You know, I was in the same little, um, two person class with. I liked beating him, um, because he never stops talking. Um, and but but, you know, aside from Braille music, what I, what I really got and I think what a lot of people got, um, was classical music and an appreciation of classical music. So I think that's Braille music has done wonderful things. But you, you know, you didn't just inspire people at Braille music camp. You also did at Vibe and Vision Australia, and now you're getting an award this year. How does that feel?

Well, I feel very, very honoured. And I was really quite surprised because I'm sure there were so many other people who were nominated for it and to have been the one to be chosen, I really, um, it was it was a real honour. And I thank them for it.

Well, I feel very, very honoured. And I was really quite surprised because I'm sure there were so many other people who were nominated for it and to have been the one to be chosen, I really, um, it was it was a real honour. And I thank them for it.

Well, I think we've I think, you know, I think we've had the honor as, as blind children of being taught by you. My, my colleague Sam, who's doing the panel, uh, has, has been, you know, has had experience as well at our vibe and, and, you know, we, you know, you you taught so many students over the years here and, and inspired so many people to learn Braille music. You're a very worthy award recipient. And it's just been wonderful chatting to you today and hearing your story. Thank you so much, Dorothy.

Well, I think we've I think, you know, I think we've had the honor as, as blind children of being taught by you. My, my colleague Sam, who's doing the panel, uh, has, has been, you know, has had experience as well at our vibe and, and, you know, we, you know, you you taught so many students over the years here and, and inspired so many people to learn Braille music. You're a very worthy award recipient. And it's just been wonderful chatting to you today and hearing your story. Thank you so much, Dorothy.

I haven't mentioned the fact that, um, in 1977, George Findlay had been up till then, had been transcribing music for, uh, for many, many years. And he always used to say, you know, when I give up. You're the one that needs to take over. You're the right person. So he said, but I'm not ready yet. However, 97, 1977, he became quite ill and he he asked the authorities what they were going to do because he only had months to live and, uh, they wouldn't make up their mind what they were going to do. So he made up their mind for them, and he trained me, uh, for six weeks, two hours, twice a week. And my friend Gwenda, who was a former student of mine, to read to me and he said, now we've done that, we'll send them the bill. They paid the bill, and I've been there ever since and since the 8th of August, 1977.

I haven't mentioned the fact that, um, in 1977, George Findlay had been up till then, had been transcribing music for, uh, for many, many years. And he always used to say, you know, when I give up. You're the one that needs to take over. You're the right person. So he said, but I'm not ready yet. However, 97, 1977, he became quite ill and he he asked the authorities what they were going to do because he only had months to live and, uh, they wouldn't make up their mind what they were going to do. So he made up their mind for them, and he trained me, uh, for six weeks, two hours, twice a week. And my friend Gwenda, who was a former student of mine, to read to me and he said, now we've done that, we'll send them the bill. They paid the bill, and I've been there ever since and since the 8th of August, 1977.

Well, after all those years at Rvb and Vision Australia, it transcribing and teaching music. It's wonderful to see you receive this award. It's a fantastic achievement among with all your other achievements and it's been fantastic. Chatting to you today. Dorothy, thank you so much for being here.

Well, after all those years at Rvb and Vision Australia, it transcribing and teaching music. It's wonderful to see you receive this award. It's a fantastic achievement among with all your other achievements and it's been fantastic. Chatting to you today. Dorothy, thank you so much for being here.

Thank you. This.

Thank you. This.

And that concludes the program for this week. You've been listening to a special episode of Talking Vision where we pay tribute to the life of Dorothy Hamilton OAM, a Braille music pioneer, teacher and transcriber who touched the lives of all who met her. Talking vision is a Vision Australia radio production. Thanks to all involved with putting the show together every week and remember, we love hearing from you, so please get in touch any time on our email at Talking Vision at Vision Australia. Org that's talking vision all one word at Vision australia.org. But until next week it's Sam Colly saying bye for now.

And that concludes the program for this week. You've been listening to a special episode of Talking Vision where we pay tribute to the life of Dorothy Hamilton OAM, a Braille music pioneer, teacher and transcriber who touched the lives of all who met her. Talking vision is a Vision Australia radio production. Thanks to all involved with putting the show together every week and remember, we love hearing from you, so please get in touch any time on our email at Talking Vision at Vision Australia. Org that's talking vision all one word at Vision australia.org. But until next week it's Sam Colly saying bye for now.

You can contact Vision Australia by phoning us any time during business hours on one 308 4746. That's one (300) 847-4106 or by visiting Vision australia.org. That's Vision australia.org.

You can contact Vision Australia by phoning us any time during business hours on one 308 4746. That's one (300) 847-4106 or by visiting Vision australia.org. That's Vision australia.org.