Pianoforte-tuning as an employment for the blind originated in Paris. About 1830 Claud Montal and a blind fellow-pupil attempted to tune a piano. The seeing tuner in charge of the school pianos complained to the director, and they were forbidden to touch the works, but the two friends procured an old piano and continued their efforts. Finally, the director, convinced of their skill, gave them charge of all the school pianos, and classes were soon started for the other pupils. When Montal left the institution he encountered great prejudice, but his skill in tuning became known to the professors of the Conservatoire, and his work rapidly increased and success was assured. Montal afterwards established a manufactory, and remained at its head for many years. Tuning is an excellent employment for the blind, and one in which they have certain advantages. The seeing who excel in the business go through a long apprenticeship, and one must give the blind even more careful preparation. They must work a number of hours daily, under suitable tuition, for several years. After a careful examination by an expert pianoforte-tuning authority, every duly qualified tuner should be furnished with an official certificate of proficiency, and tuners who cannot take the required examinations ought not to be allowed to impose upon the public.
Music in its various branches, when properly taught, is the best and most lucrative employment for the blind. To become successful in the profession, it is necessary for the blind to have opportunities of instruction, practice, study, and hearing music equal to those afforded the seeing, with whom they will have to compete in the open market. If the blind musician is to rise above mediocrity, systematic musical instruction in childhood is indispensable, and good instruction will avail little unless the practice is under constant and judicious supervision. The musical instruction, in its several branches of harmony, pianoforte, organ and vocal culture, must be addressed to the mind, not merely to the ear. This is the only possible method by which musical training can be made of practical use to the blind. The blind music teacher or organist must have a well-disciplined mind, capable of analysing and dealing with music from an intellectual point of view. If the mental faculties have not been developed and thoroughly disciplined, the blind musician, however well he may play or sing, will be a failure as a teacher. The musical instruction must be more thorough, more analytical, more comprehensive, than corresponding instruction given to seeing persons. In 1871 Dr Armitage published a book on the education and employment of the blind, in which he stated that of the blind musicians trained in the United Kingdom not more than one-half per cent were able to support themselves, whereas of those trained in the Paris school 30% supported themselves fully, and 30% partially, by the profession of music.