Teaching Music to Students with Special Needs

Teaching Music ◽

Assessment Strategies ◽

Reference Manual

A practical guide & reference manual, Teaching Music to Students with Special Needs addresses special needs in the broadest possible sense to equip teachers with proven, research-based curricular strategies that are grounded in both best practice and current special education law. Chapters address the full range of topics and issues music educators face including parental involvement, student anxiety, field trips and performances, and assessment strategies. The book concludes with an up-to-date section of resources and technology information.

A Resourceful and Pedagogical Approach to Teaching Students with Special Needs

10.1093/oso/9780195395402.003.0010 ◽

2011 ◽

Author(s):

Alice M. Hammel ◽

Ryan M. Hourigan

Keyword(s):

Music Education ◽

Special Needs ◽

Music Educators ◽

School Life ◽

Team Members ◽

Music Classroom ◽

Child Centered ◽

Approach To Teaching ◽

Teaching Music

The vignette regarding Gregory introduces an approach to teaching students with special needs that may be new for many music educators (and music education students). Collegiate students are not always given the opportunity to think critically and constructively about adaptations and accommodations for students with special needs prior to graduation from undergraduate school (Hammel, 1999; Nocera, 1979). Skills developed while brainstorming ideas for students via vignettes may assist music educators as they derive strategies for students with special needs in music classrooms. This skill preparation also introduces the idea of a “team approach” when interacting with faculty, administration, students, and families (Ansuini, 1979; Atterbury, 1993). For these reasons, vignettes are included within the text to encourage this process when preparing to teach students with special needs. The most effective approach when working within a school and school system is to become a part of the existing team of professionals (Dalrymple, 1993). Teachers often become compartmentalized when teaching music in another part of the building or when traveling from building to building. Successful child-centered schools function as teams, and active participation is important for each individual teacher as well as for the overall success of the school (Gfeller, Darrow, & Hedden, 1990; Gilbert & Asmus, 1981; Heller, 1994; Williams, 1988). Being proactive and positive can assist teachers as they become involved as integral “team members” within a school. Maintaining a positive and inclusive attitude will increase the view that the music program is an important and necessary component of school life for all students (Ozonoff, Rogers, & Hendren, 2003; Pierce & Schreibman, 1997; Wagner, 1999). Being aware of the students in the music classroom, as well as their academic and behavioral needs, is a critical initial strategy in developing an inclusive scope and sequence for classrooms and ensembles (Hart & Risley, 1975; Prizant & Wetherby, 1998). Knowing that we teach students, with music as a catalyst, and that students come to the music classroom with a variety of independent and individualized needs is important to inclusive-oriented music educators.

Preparing to Teach

10.1093/oso/9780195395402.003.0009 ◽

2011 ◽

Author(s):

Alice M. Hammel ◽

Ryan M. Hourigan

Keyword(s):

Special Education ◽

Special Needs ◽

Teacher Educators ◽

Music Educators ◽

Music Teacher ◽

Graduate Preparation ◽

Teaching Music ◽

Service Music ◽

Resource Rooms

There are varying degrees of undergraduate and graduate preparation for students with special needs. Music educators may have had a general special education class or the opportunity to study topics regarding students with special needs embedded within a music methods course. The topic of students with special needs may have been included in an educational psychology course, or a teaching music to students with special needs course that was part of the curriculum (Heller, 1994, York & Reynolds, 1996). More often than not, music educators have little or no background or instruction in this area (Wilson & McCrary, 1996). Therefore, music educators must be resourceful in gaining insight into the skills, strategies, and understandings that accompany the experience of teaching a student with special needs. Music teacher educators often have little or no preparation as to how to educate future music educators regarding the inclusion of music students with disabilities or how to plan, implement, and assess lessons in self-contained and inclusive music classrooms. Oftentimes, this lack of understanding results in either glossing over the topic or ignoring it altogether. Licensure requirements can leave little room for “special” topics in the methods classroom. Fieldwork and engagement with special education faculty and staff in a variety of environments can assist music educators in finding ways to reach students with special needs. This chapter may appear to be designed for the music teacher educator. However, practicing music educators are encouraged to utilize the observation protocols and other strategies to obtain on-the-job and authentic experience through self-imposed fieldwork, observation, and discussion within the special education framework. This may be beneficial to music educators in understanding the subculture of students, parents, educators, and administrators that surround a student with special needs. This fieldwork may need to be conducted during preparation/planning time or through permission from an administrator. For music teacher educators, this chapter is designed as a guide to develop fieldwork opportunities for pre-service music educators. Included in this chapter will be strategies for engagement in self-contained classrooms, resource rooms, inclusive settings, and summer enrichment programs.

Book Review: Teaching Music to Students with Special Needs: A Label-Free Approach

Perspectives: Journal of the Early Childhood Music & Movement Association ◽

10.1386/ijmec_0202_5 ◽

2012 ◽

Vol 7 (1) ◽

pp. 21-22

Author(s):

Jan Boner

Keyword(s):

Special Needs ◽

Label Free ◽

Teaching Music

Curriculum and Assessment for Students with Special Needs

10.1093/oso/9780195395402.003.0013 ◽

2011 ◽

Author(s):

Alice M. Hammel ◽

Ryan M. Hourigan

Keyword(s):

Music Education ◽

Special Needs ◽

Music Educators ◽

National Standards ◽

Learning Differences ◽

Philosophy Of Music ◽

Daily Lives ◽

Music Classroom ◽

The Individual

Every successful music educator has a curriculum that contains a scope (overarching goals) and sequence (how we will achieve our goals and in what order) that are critical to reaching meaningful educational goals within the music classroom. Walker and Soltis (2004) state: “Working with the curriculum is an integral part of all teachers’ daily lives”. When specific curricula are not mandated (by the state, or federal government), most music educators use a set of standards or guidelines to devise a scope and sequence for classroom teaching (i.e., the National Standards). It is important as music educators to consider their curriculum when preparing to teach all students, not just students with learning challenges. This is what separates an educator from a therapist or a service provider. The questions that we will address in this chapter include: How do music educators maintain a focus on their own curricular goals while adapting that same curriculum to the individual needs of students? And how do we assess and reflect on these goals to make adjustments in our curriculum? These are difficult questions to answer. In fact, this has been a challenge for teachers since the inclusion of students with special needs began following the passage of P.L. 94–142 more than 35 years ago. Walker and Soltis explain, “While many teachers supported the goal, many were offended that rigid regulations were imposed on them without their consent”. All these issues require a thoughtful and sequential approach when preparing, presenting, and assessing instruction in the music classroom. However, the stronger the underlying curricular focus is, the easier it will be to adapt and modify your existing curriculum to individualize instruction for students who have learning differences. Your specific curriculum, if not mandated by your state or school system, will be a result of your philosophy of music education. Even when utilizing prescribed curricula, your choices in scope and sequence will reflect your values in the classroom. These same values will be reflected in the choices you make in modifying your curricula for students with special needs.

Developing a Student-centered and Inclusive Music Classroom

10.1093/oso/9780195395402.003.0012 ◽

2011 ◽

Author(s):

Alice M. Hammel ◽

Ryan M. Hourigan

Keyword(s):

Teaching And Learning ◽

Music Educators ◽

Inclusive Classroom ◽

Music Teaching ◽

Student Centered ◽

Music Classroom ◽

Contingent Praise ◽

Close Supervision ◽

Teaching Music

Classroom behavior is a common concern among many music educators. This is particularly true for music educators who teach in inclusive settings. This chapter is designed to provide effective tools and strategies at the micro-level (e.g., behavior and management techniques), and the macro-level by informing the reader of philosophical underpinnings that encompass a successful inclusive classroom. The socialization and lasting relationships that all students develop in school are also of considerable importance. Therefore it is imperative for music educators to strive for a caring, inclusive environment that is conducive for all students to learn. The practical strategies suggested at the end of this chapter are presented to encourage music educators to create a tolerant, caring classroom that is conducive for music teaching and learning. Many of the techniques discussed in this chapter are just examples of good teaching regardless of what population of students you are teaching. Effective classroom management begins long before the students enter the music room. A well-prepared environment is essential for optimal instruction and is particularly important when teaching music to students with special needs. This groundwork can be time-consuming and requires a thoughtful approach to the classroom setting; however, it is well worth the planning when the classroom becomes an inclusive and student-centered environment. Conroy, Sutherland, Snyder and Marsh (2008), explains that specific teacher interventions can lead to improved student behavior. These interventions include: (a) close supervision and monitoring, (b) classroom rules, (c) opportunities to respond, and (d) contingent praise. As music educators, we can apply these principles to music classrooms. The next section of this chapter is designed to relate these interventions to music teaching and learning, and to provide strategies for music teachers. Close supervision and monitoring. Conroy et. al found that close supervision and monitoring can by implemented in the music classroom in the following ways: (a) student proximity to the teacher; (b) a music teacher’s ability to visually monitor all students; (c) active engagement with students; (d) student access to teacher; and (e) ratio of adults to students that is conducive to close supervision.

Teaching Music to Students Who Are Intellectually Gifted

10.1093/oso/9780195395402.003.0015 ◽

2011 ◽

Author(s):

Alice M. Hammel ◽

Ryan M. Hourigan

Keyword(s):

Public Schools ◽

Special Needs ◽

Formal Education ◽

Label Free ◽

Educational Barriers ◽

Mental Age ◽

Intellectually Gifted ◽

Teaching Music ◽

Free Environment

There are students like Hannah in our public schools. They are inquisitive, questioning, exceptionally interested, and have a distinct look about them as they learn new information. They are the students who learn difficult concepts instantly and completely. They are the students who can comprehend an entire scope and sequence of a topic, seemingly in an instant. They are also at great risk in our classrooms that are often designed for the average student and offer accommodations for students with other types of special needs. The special needs of students who are intellectually gifted are often delayed, ignored, and denied. For these students, the promise of tomorrow and a teacher who will finally challenge them begins to fade. This reality often sets in during the late elementary and middle school years. While the philosophy of this text has placed importance on encouraging “label-free learning” for students with special needs, there are times when a distinction is necessary. One of these distinctions is in the cognitive area. Most often, music educators adapt teaching to accommodate students who learn at a slower rate; however, it is important to also consider adapting our teaching for those students who learn at a faster rate than their peers. These students are often identified as being gifted. The philosophical premise that students learn best and teachers are most prepared when a label-free environment is established remains a hallmark of this book. We (the co-authors) consider the decision to briefly digress as we discuss students who are gifted as necessary to understand the specific special needs of students whose cognition capabilities are vastly increased. We will return to our label-free approach at the end of the chapter as we summarize the information gleaned from this area of students with special needs. The identification of students who are gifted has had a long and circuitous journey. Alfred Binet was the first to develop a measure for judgment or mental age to screen and provide educational barriers for children not considered intelligent enough for a formal education (Binet, 1894).

The work process for the promotion of students with special needs integrated in the kindergartens of regular education: the case of Israel

Interdyscyplinarne Konteksty Pedagogiki Specjalnej ◽

10.14746/ikps.2017.17.14 ◽

2018 ◽

pp. 271-286

Author(s):

Nava Bar

Keyword(s):

Special Education ◽

Special Needs ◽

Educational System ◽

Regular Education ◽

Special Education Law ◽

Work Processes ◽

Work Process ◽

Special Needs Students ◽

The Law

The Special Education Law in Israel was legislated on July 12, 1988. The law determined precedence and advance preference for the placement of special needs students in the regular educational system over the special education system. In the spirit of the law, methodical and painstaking processes that arrange the work with special needs students in the educational system were determined. This article presents two work processes implemented in parallel in the regular kindergartens. The first work process is with students who have functional difficulties, before their definition and as prevention of their definition as students with special needs. The second process is the work process with the special needs students who are integrated in the regular kindergartens, intended to prevent their referral to frameworks of special education. These processes reflect the development that occurred in the importance ascribed in the educational system in Israel to careful and adjusted work with students who have difficulties and special needs and are integrated in the kindergartens of regular education. Alongside the described development, the article presents the challenges and the questions that the implementation of the processes poses.

Composing Music in Special Education

Music Educators Journal ◽

10.1177/00274321211038281 ◽

2021 ◽

Vol 108 (1) ◽

pp. 43-49

Author(s):

Julia Clipper ◽

Keishel X. Lee

Keyword(s):

Special Education ◽

Music Education ◽

Special Needs ◽

Music Composition ◽

Creative Thinking ◽

Music Educators ◽

Wide Range ◽

Ability Levels

Composition is an important and creative part of any child’s music education, yet many music educators feel unprepared to teach composition to students with special needs. This article explores the value of incorporating music composition in a special education classroom and outlines two compositional lessons based on creating a musical scenery. The first lesson took place in a classroom with seven students, ages six to twenty-three, and the follow-up lesson involved fourteen students, ages four to twenty-three, all possessing a wide range of ability levels. By encouraging students to collaborate and freely compose, teachers can guide students with special needs beyond playing precomposed music and into creative thinking and building an overall sense of confidence, community, and musicianship.