"The education of blind organists is a topic that has not seen much research in recent years, yet it is an important part of the history of organ pedagogy. The school of blind organists that was established at the Institut National des Jeunes Aveugles in Paris has trained dozens of young people to be musicians and organists, and for over one hundred and fifty years it has produced an output of organists that made significant contributions to their field. This dissertation argues that important elements of pedagogy for blind students can also be applied to sighted students and that they can benefit organ education as a whole. In the first chapter, I discuss the development of the Institute and its organ class, considering crucial figures and teachers that aided in this development, especially Valentin Haüy, Louis Braille, Louis Lebel, and Adolphe Marty. In chapter two, I discuss the contribution of blind pedagogy through the eyes of the partially blind organist and former Institute student Louis Vierne. Through his Methode d’Orgue, multiple pedagogical considerations emerge, many of which speak directly to the pedagogy of training blind organists. Finally, in chapter three, I consider the direct pedagogical considerations for teaching blind students through the eyes of blind organist and Institute teacher Jean Langlais. Langlais details these pedagogical principles in his memoir L’Orgue, l’Improvisation et la Composition Musicale enseignés à des élèves aveugles par un professeur aveugle, in which he develops and provides specific pedagogical exercises that are not found in other methods. Overall, this dissertation sets out to examine the impact and influence of blind organ pedagogy and the ways in which it can benefit sighted organ students. This method allows us to consider additional alternative approaches to teaching basic organ technique, which allow organists to play with more accuracy and intention. Blind organ pedagogy influences sighted students by developing and fostering a complete awareness of other bodily senses, in particular touch and hearing, which are essential for playing the instrument appropriately and developing a structured and informed technique."​​​​​​​