American Sign Language (ASL) is used for Deaf and Hard of Hearing (DHH) individuals to communicate and learn in a classroom setting. In ASL, fingerspelling and gestures are two primary components used for communication. Fingerspelling is commonly used for words that do not have a specifically designated sign or gesture. In technical contexts, such as Computer Science curriculum, there are many technical terms that fall under this category. Most of its jargon does not have standardized ASL gestures; therefore, students, educators, and interpreters alike have been reliant on fingerspelling, which poses challenges for all parties. This study investigates the efficacy of both fingerspelling and gestures with fifteen technical terms that do have standardized gestures. The terms’ fingerspelling and gesture are assessed based on preference, ease of use, ease of learning, and time by research subjects who were selected as DHH individuals familiar with ASL.

The data is collected in a series of video recordings by research subjects as well as a post-participation questionnaire. Each research subject has produced thirty total videos, two videos to fingerspell and gesture each technical term. Afterwards, they completed a post-participation questionnaire in which they indicated their preference and how easy it was to learn and use both fingerspelling and gestures. Additionally, the videos have been analyzed to determine the time difference between fingerspelling and gestures. Analysis reveals that gestures are favored over fingerspelling as they are generally preferred, considered easier to learn and use, and faster. These results underscore the significance for standardized gestures in the Computer Science curriculum for accessible learning that enhances communication and promotes inclusion.

In this welcome anthology, Tina Frühauf publishes solo organ music by Jewish composers from the early 19th through the mid-20th centuries, making known to organists and scholars a fascinating repertoire that was largely obscured by the Holocaust. Frühauf has established herself as an expert on the subject with her monograph, The Organ and Its Music in German-Jewish Culture. In her preface to the musical edition, she explains that the anthology complements her book, since it includes scores of some of the music she has previously analyzed. She made her selections to ‘trace the history and major stylistic developments of organ music in the German-speaking Jewish communities of central Europe, parts of eastern Europe, and finally in the United States and Israel, where many composers emigrated to escape from Nazi persecution’ (vii). This music reveals a rich culture of Jewish organ playing that was virtually extinguished by the devastation of World War II.