This week, Signature share more about Paul Whittaker, a successful musician, who was born Deaf. Paul is a proud Pianist and Organist who uses his passion to inspire others to get involved in music. Paul opens up about his experience of rejection from several universities and how this spurred him on to inspire other Deaf individuals to break down barriers.
- Hi Paul, first, can you introduce yourself to our Signature readers?
Hello everyone, I am Paul Whittaker, a Deaf musician and performer. I was born Deaf an as with most people of my generation I was brought up in a hearing world, and only started picking up sign language when I was 10 years old. I created and ran a charity, “Music and the Deaf” but for the last 9 years I have been working freelance. From the age of 12 I knew I wanted to pursue a career in music and also wanted to encourage other Deaf people to explore and enjoy music as I did. I have also signed many theatre performances and worked with many choirs and orchestras across the UK, including concerts at the BBC Proms and the Edinburgh Festival.
- Can you share some more about how you first became interested in music and was there anyone in particular who inspired you to pursue this passion?
I grew up in a house where music was played a lot. My mum played the piano and dad enjoyed listening to music. I didn’t always know the music but knew it made people happy and sad; made them dance, made them relax, so when I was 5 I decided I wanted to start piano lessons. My music teachers were wary as they worried about how to communicate but I learned to read music very quickly. I joined my local church choir and through that I became interested in playing the organ which I started when I was 12. Around the same time, I knew I wanted to go to university and get a music degree. Getting into University was hard due to people’s attitudes towards me. I was rejected by 12 universities before being accepted by Wadham College, Oxford in 1983.
- Can you expand on a moment in your musical journey that you found particularly rewarding or transformative?
We all remember teachers who inspired, supported and encouraged us. I had two teachers like that. First, Mr Saint who introduced me to lots of music I didn’t know before. The second was my tutor at Oxford, Dr Edward Olleson. He was prepared to give me a chance when no-one else would. He looked at my ability not my disability. He only cared that I understood music, could write about it, could analyse it and talk about it. If it wasn’t for him, I would not have had the career or the opportunities I have had. And when I received my OBE for Services to Music in 2007, he was the guest I took to Buckingham Palace.
- What led you to establish the charity, ‘Music and the Deaf’, and what are some of the key achievements of the organisation?
When I was 12, I had an idea of wanting to help other Deaf people enjoy music as I did, and that finally happened in 1988. After a slow start, the Hearing-Impaired Support Service in Sheffield then invited me to spend one day a week working with them. That involved doing music with the Deaf pupils at Hazelbarrow School and visiting individual pupils in other schools who were learning music instruments. This opportunity I will always be grateful for. A few years ago, I was at an event when a young Deaf man came up to me and asked, “Remember me?” When I replied, “No, sorry.” he gave his name (at which point I did remember him) and continued, “When I was 10 you came to my school and introduced me to music. No-one had ever done that before. I want to tell you that I still enjoy music now and to thank you for giving it to me.” That was a very emotional moment, and a legacy of Sheffield. Being able to encourage or reassure people that being Deaf isn’t the end of the world, that they can live a full life and achieve anything they want is so important. I have met some fascinating people when delivering talks and some became very good friends and supporters of both myself and the charity. Of course, there were critics. In the early days there were some Deaf people who accused me of wasting my time doing music, of not being “Proper Deaf” and trying to put me down. At the end of it all, however, even if the work of “Music and the Deaf” changed the life of just one person it was worth it. The reality, though, is that we changed many lives, and I hope I continue to do so.
(Paul seen on the far left).
- As an individual who is deaf, do you feel that your personal relation with sound has changed the way you personally approach music?
The question I’m asked most of all is, “How do you understand music?”. Lots of people assume that hearing is vital for enjoying and playing music, but they are wrong. Unless I see the score, nothing makes sense. After reading it I know in my head what the piece of music sounds like, then by feeling the vibrations or watching the conductor I can follow a performance. Being a pianist helps a lot as that’s a big, physical instrument that goes from very low sounds to very high ones. Every note feels different when you press the piano key down. I don’t feel that I’m more aware of sound on a daily basis because I’m a musician. Quite often I leave my hearing aids out, especially when I’m at home or driving. I know what I want to ‘hear’ and so picking up sounds that I don’t need can be distracting and irritating. I have developed my own way of ‘listening’ to music and understanding it: it’s not better or worse than hearing it, just different, and it works for me!
- What are some common misconceptions about deafness and music that you encounter, and how do you address them?
Most people still think that being Deaf stops you from enjoying music, and the question I get asked more than any is, “How do you make music when you can’t hear it”? I never get impatient when asked this as its important to clear up misconceptions about music and deafness. Looking back, it was exam boards and universities that had the biggest problem with my deafness. They were the ones who said it was impossible for me to have a career as a musician and we, no doubt concerned about how it affected them than me. Theirs feats usually arose out of ignorance, and I’ve always wanted to challenge that. Every single person, Deaf or hearing, responds to music uniquely, and that’s part of what makes music so fascinating. You never perform a piece of music (or sign a song) in exactly the same way. If you did, that would be boring. Music is linked to feeling and emotion, not hearing!
- What key pieces of advice would you give to aspiring deaf musicians or individuals interested in pursuing a career in the musical realm?
Being able to encourage and support others in achieving their goals and dreams is so rewarding. There were some people who tried to discourage me when I was young, but the vast majority were extremely positive and helpful. If you have a dream, an ambition, pursue it. It’s up to you to make it happen, no one else. You do need determination and a belief in your skills and abilities though. You must be willing to listen to others and learn from your mistakes. Never be arrogant or think you know it all – you don’t (and never will!) I encourage those who are Deaf and want a career in music to learn as much about music theory and music history. Read widely, go to performances, explore lots of different types of music; absorb it all, like a sponge. If I had followed the advice of some people when I was young I wouldn’t be writing this. Be a pioneer. Break down barriers. Be open about your deafness but never use it as an excuse; looking for sympathy won’t get you anywhere. Your skill and ability is what defines you when it comes to making music.
- Here at Signature, we are incredibly excited about the prospect of a BSL GCSE. Can you share with us your perspective on this new qualification.
I think it’s a good idea, but I have concerns about who will teach it, how it will be taught and how sustainable it might be. It makes more sense, fir me, for BSL to be taught (more informally) from infant school onwards. Over the years they then build up a large vocabulary, become pretty fluent and confident in it, and it’s fun. Only time will tell how successful a BSL GCSE is. It’s a great aim but, like the BSL Act before it, I’m unsure of its impact and may lead to more Deaf people losing out than benefitting from it.
- Finally, do you have any upcoming projects or future aspirations that you would like to expand on with our readers?
Although I have now reached 60 years of age, I am slowly realising that I can’t live life at the pace I used to. I am doing an increasing number of classical music performances and want to see orchestras, choirs, ensembles, venues, etc do more for Deaf people. Orchestral players and choir members may well have family members and friends who are Deaf, yet access is rarely provided for concerts. Orchestras may provide interpreters for family and school concerts but rarely follow this up by providing access for regular concerts. This needs to change. Local music services, organisations, clubs, and societies need to be more pro-active in engaging with, and encouraging, Deaf people to participate in music. Making music is a national charity that helps “Leisure-time music flourish” and I have worked with them on this recently. I am still passionate about signed song and raising standards there. Too often the music elements get overlooked and people include far too many signs that obscures the real meaning of a song. Less is more when it comes to signed song, and it’s a far harder thing to do than many people think.
So, still lots to do and lots to think about. But whatever your interest in music, in signing, in deafness, I hope you will continue to explore it and enjoy it. Thanks for reading and watching.
Here at signature, we would like to thank Paul for his invaluable advice throughout the blog. Paul expresses some of the misconceptions surrounding deafness and music, highlighting the importance of one’s emotions. Paul emphasises the importance of determination when pursuing one’s passion and some words on his most memorable moments.
