The Effect of Instruction on Music Educators' Attitudes toward Students with Disabilities

1996 ◽  
Vol 44 (1) ◽  
pp. 26-33 ◽  
Author(s):  
Brian Wilson ◽  
Jan McCrary
Keyword(s):  
Special Education ◽  
Music Education ◽  
Students With Disabilities ◽  
Music Educators ◽  
Master's Level ◽  
Education Students ◽  
Before And After ◽  
Teaching Music ◽  
Attitudes Toward Students ◽  
University Course

Before and after completing a university course for teaching music to special education learners, master's-level music education students ( N = 18) were given a measure examining their attitudes toward students with disabilities. The survey instrument consisted of 20 statements describing five different groups of students; these were learners with emotional, physical, multiple, mental, or no impairments. The participants were directed to indicate strength of agreement or disagreement with the following statements: “I would feel comfortable in interacting with this individual,” “I would be willing to work with this individual,” and “I would feel capable in working professionally with this individual.” Results showed an increase in the participants' responses to the statement “I would feel more capable in working professionally” but a statistically significant decrease ( p < . 05) to the statement “I would be willing to work” with special-needs learners after the completion of training.

Preparing for the Future: Music Students with Special Education Needs in School and Community Life

2012 ◽  
pp. 80-96
Author(s):  
Alice-Ann Darrow ◽  
Mary S. Adamek
Keyword(s):  
Special Education ◽  
Music Education ◽  
Students With Disabilities ◽  
School Personnel ◽  
Severe Disabilities ◽  
Music Educators ◽  
Professional Journals ◽  
Special Education Needs ◽  
Instructional Roles ◽  
The Status

This article considers the status of music education for disabled students. Music has long played a key role in special education programs for students with disabilities. However, the inclusive practices in schools today, have increased music educators' accountability in the education of their students. Though instructional roles may differ, music educators often work with students who are along the continuum of abilities ranging from gifted to those with the most severe disabilities. Music educators can prepare themselves by engaging in continuous education, collaborating with other school personnel, and staying up to date on appropriate readings in professional journals.

Recent and Continuing Initiatives and Practices in Special Education

2017 ◽  
Vol 104 (2) ◽  
pp. 32-37 ◽  
Author(s):  
Alice-Ann Darrow ◽  
Mary S. Adamek
Keyword(s):  
United States ◽  
Special Education ◽  
Music Education ◽  
Students With Disabilities ◽  
Individualized Education Program ◽  
The United States ◽  
Music Educators ◽  
Disabilities Education Act ◽  
Basic Understanding ◽  
Education Act

A number of initiatives in special education have occurred in the United States over the years, some mandated by amendments to the Individuals with Disabilities Education Act. Having a working knowledge of these initiatives allows music educators to have informed discussions with colleagues and parents and participate more fully in Individualized Education Program (IEP) meetings. Adopting special education practices that are appropriate to music education can also promote consistent and coordinated efforts on behalf of students with disabilities. This article includes summaries of current practices and initiatives in special education. For music educators who would like a basic understanding of their colleagues’ discipline, these summaries offer useful information that can facilitate the inclusion of students with disabilities.

Academy of Music and Arts for Special Education (AMASE): An Ethnography of an Individual Music Instruction Program for Students With Disabilities

2021 ◽  
pp. 002242942199033
Author(s):  
Amanda R. Draper ◽  
Sarah J. Bartolome
Keyword(s):  
Special Education ◽  
Music Education ◽  
Students With Disabilities ◽  
Organizational Values ◽  
Music Educators ◽  
Music Instruction ◽  
Relational Model ◽  
Implicit Beliefs ◽  
The Social ◽  
Potential Impact

This 3-year ethnography explored the culture of the Academy of Music and Arts for Special Education (AMASE), a university undergraduate volunteer organization offering music instruction for individuals with disabilities. We examined the organization and its impact on students, parents, and volunteers through the lens of the social relational model of disability. Findings clustered around three pillars of organizational values: ability, community, and service. The organization’s philosophy of ability cultivated a community that acknowledged the impairments of the students while actively seeking ways to break down the socially imposed barriers to musical learning that were disabling to them. The program filled a need where access to music education had previously been limited or denied. Undergraduate volunteers’ experiences raised their awareness of inequity for people with disabilities and motivated them to consider ways to serve this community in their future careers. Findings illustrate the potential impact of a social relational model on music education philosophy and practice, suggesting a need for music educators to challenge implicit beliefs about students’ capabilities and actively inquire into the ways in which music education contexts may be inherently disabling.

Familiarity with Basic Song Repertoire: Music Education/Therapy Majors versus Elementary Education Majors

1998 ◽  
Vol 46 (4) ◽  
pp. 461-468 ◽  
Author(s):  
Carol A. Prickett ◽  
Madeline S. Bridges
Keyword(s):  
Elementary Education ◽  
Music Education ◽  
Music Therapy ◽  
Music Educators ◽  
Education Majors ◽  
Education Students ◽  
Song Repertoire ◽  
Elementary Education Majors ◽  
Elementary Education Students ◽  
Teaching Music

An audiotape of the tunes of 25 standard songs assumed to be known by everyone who has finished Grade 6 was played for 273 undergraduate music therapy and music education students and 306 elementary education students who were beginning a music skills class. Music majors identified significantly more tunes than did elementary education majors, but the means for both groups indicated that neither had developed a strong repertoire of standard songs outside the college classroom. Several songs that music educators have stated are very important for children to learn could not be identified by even half the students in either group. It is recommended that those preparing elementary education students emphasize building a song repertoire and that those teaching music therapy and education students consider adding this goal to appropriate courses.

Evidence-Based Practices for Music Instruction and Assessment for PreK–12 Students with Autism Spectrum Disorder

2019 ◽  
pp. 788-826
Author(s):  
Robyn Swanson
Keyword(s):  
Autism Spectrum Disorder ◽  
Special Education ◽  
Students With Disabilities ◽  
Universal Design For Learning ◽  
Autism Spectrum ◽  
Music Educators ◽  
Spectrum Disorder ◽  
Evidence Based ◽  
Evidence Based Practices ◽  
Students With Autism

This chapter addresses the use of evidence-based practices (EBPs) by special education practitioners in instruction and assessment while providing music educators guidance toward implementing these practices in instruction and assessment for students with autism spectrum disorder (ASD) within universal design for learning (UDL) inclusive classrooms. Included are behavioral characteristics of students with ASD that music educators need be cognizant of in inclusive settings; federal education laws and policies that have provided students with disabilities rights to a quality education; and selected special education EBP and accommodations deemed as viable interventions for teaching and assessing PreK-12 standards-based music curriculum for students with ASD. Music educators may determine the PreK-12 music assessments aligned to appropriate EBP and accommodations for students with ASD are beneficial resources when designing and implementing curriculum, instruction, and assessment linked to the 2014 National Core Arts (Music) Standards (NCAS) with supporting Model Cornerstone Assessments (MCAs).

Thinking Vertically: Facilitating Transition for Students With Disabilities

2021 ◽  
pp. 104837132110344
Author(s):  
Ellary A. Draper
Keyword(s):  
High School ◽  
Special Education ◽  
Early Intervention ◽  
Best Practices ◽  
Music Education ◽  
Students With Disabilities ◽  
Education Program ◽  
Special Educators ◽  
Individualized Education Program ◽  
Special Education Transition

Within special education, transition is a required part of a student’s Individualized Education Program, specifically the transition from school to postsecondary life. Recently, special educators have begun to investigate best practices of transition at all levels—early intervention into school, elementary to middle school, and middle to high school. Yet in music education transition is not widely discussed for students with and without disabilities. This article includes an overview of best practices of transition in special education and provides ideas on how to implement these practices in music education to better facilitate transition between schools to postsecondary life for students with disabilities.

Music Education at the New York Institution for the Blind, 1832–1863

2014 ◽  
Vol 62 (4) ◽  
pp. 362-388
Author(s):  
Phillip M. Hash
Keyword(s):  
New York ◽  
Music Education ◽  
Vocal Music ◽  
Music Educators ◽  
Music Curriculum ◽  
Music Program ◽  
History Of ◽  
Research Questions ◽  
Teaching Music ◽  
The City

The purpose of this study was to document the history of music education at the New York Institution for the Blind (NYIB) from the opening of the school in 1832 through the tenure of the facility’s first music director, Anthony Reiff. Research questions pertained to the school’s origin and operation and to its music curriculum, pedagogy, faculty, ensembles, and resources. The NYIB provided a home and education for students ages eight to twenty-five. The music program served as recreation and vocational training and as a means of promoting the school. Reiff joined the faculty in 1835 and established a band and choir that performed throughout the city and surrounding states. In 1847, the board of managers hired George F. Root as head of vocal music and named Reiff director of the instrumental division. Sigismund Laser replaced Root in 1855 and remained at the NYIB until 1863, when both he and Reiff left the school. The faculty at the NYIB developed and promoted effective methods for teaching music to people with blindness and prepared graduates to serve as church musicians, piano tuners, and music educators. Findings from this study might serve to remind music educators of past pedagogical methods and principles applicable in teaching students who are blind today.

Impact of Occupational Instruction on the Performance and Vocational Identity of Special Education Students

1996 ◽  
Vol 15 (1) ◽  
pp. 35-43 ◽  
Author(s):  
Richard T. Roessler ◽  
Karen Foshee
Keyword(s):  
Special Education ◽  
Students With Disabilities ◽  
Regular Education ◽  
Vocational Identity ◽  
Special Education Students ◽  
Special Education Teacher ◽  
Education Students ◽  
Barriers To Employment ◽  
Post Test ◽  
Vocational Situation

A special education teacher in a small rural high school instructed 23 students with disabilities in the occupational domain of the Life Centered Career Education curriculum. The students increased their Performance Battery scores from pre to post test, achieving both mastery on the competency tests and a skill level comparable to that of regular education students (n=15). Although the instructed students tended to report increased levels of occupational information from pre to post testing, they did not report fewer barriers to employment or increased vocational identity on the My Vocational Situation test.

A Resourceful and Pedagogical Approach to Teaching Students with Special Needs

2011 ◽  
Author(s):  
Alice M. Hammel ◽  
Ryan M. Hourigan
Keyword(s):  
Music Education ◽  
Special Needs ◽  
Music Educators ◽  
School Life ◽  
Students With Special Needs ◽  
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.

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