The following study set out to investigate how an understanding of music therapists' clinical experience with the visually impaired could inform best practice with this client group. The researcher employed a qualitative methodology rooted in a descriptive phenomenological approach. Five music therapists were interviewed about their clinical experience working with visually impaired clients. Giorgi's (1975) model of meaning condensation was then adopted for the analysis stage. The main conclusion arising from the study was that direct touch played an emphasised role and should be used in a supportive way to facilitate client independence in the areas of orientation and instrumental playing. The use of touch for acknowledgement and encouragement purposes was also found. The increased use of a therapist's spoken voice also emerged, with some interesting views on how changes in tone and pitch could be used more communicatively in the absence of perceived facial expressions. The importance of tactile experiences was made clear both in the process of selecting appropriate instruments and in offering clients vibrotactile opportunities using stringed instruments. Some brief but interesting analysis of the use of the iPad in one participant's clinical work was discussed. Some issues and suggestions were raised for current training programmes. Some areas for further research were identified.
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