Exceptional Music Pedagogy for Children with Exceptionalities: International Perspectives

337 Pages·2015·7.381 MB·English

by  Deborah VanderLinde Blair, Kimberly A. McCord (eds.)

Exceptional Pedagogy for Children
with Exceptionalities

Exceptional Pedagogy
for Children with
Exceptionalities
International Perspectives
Edited by Deborah VanderLinde Blair
and Kimberly A. McCord
1
1
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Library of Congress Cataloging-in-Publication Data
Exceptional pedagogy for children with exceptionalities : international perspectives / edited by
Deborah VanderLinde Blair and Kimberly A. McCord.
pages cm
Includes bibliographical references and index.
ISBN 978–0–19–023456–0 (hardcover : alk. paper) — ISBN 978–0–19–023457–7
(pbk. : alk. paper) 1. Children with disabilities—Education. 2. Music—Instruction and
study. I. Blair, Deborah (Deborah V.) II. McCord, Kimberly.
MT17.E94 2015
371.9′04487—dc23
2015010523
9 8 7 6 5 4 3 2 1
Printed in the United States of America
on acid-free paper
CONTENTS
Foreword vii
Judith A. Jellison
Preface xi
Deborah VanderLinde Blair
Contributors xxi
1. Music for All: Everyone Has the Potential to Learn Music 1
Markku Kaikkonen
2. Twice Exceptional 16
Alice M. Hammel
3. How the Orff Approach Can Support Inclusive Music
Teaching 39
Shirley Salmon
4. Lessons Learned from the Prism Project: Pedagogical
Viewpoints in Music Education for Teaching Students
with Autism Spectrum Disorder 61
Ryan M. Hourigan
5. Assistive Technology to Support Students in Accessing
the Music Curriculum 85
Emily H. Watts, Kimberly McCord, and Deborah VanderLinde Blair
6. SoundOUT: Examining the Role of Accessible Interactive
Music Technologies within Inclusive Music Ensembles
in Cork City, Ireland 105
Grainne McHale
7. Music Activities for Children with Disabilities:
An Example from Taiwan 131
Liza Lee
( vi ) Contents
8. Behavioral Issues in the Music Classroom: Promoting
the Successful Engagement of All Students 154
Alice Ann Darrow and Mary Adamek
9. Specified Learning Disabilities and Music Education 176
Kimberly McCord
10. Including Students with Disabilities in Instrumental
Ensembles 197
Christine M. Lapka
11. Music for Children with Hearing Loss 219
Alan Gertner and Lyn Schraer-Joiner
12. Reading Acquisition Frameworks for Music and Language:
Layering Elements of Literacy for Students
with Exceptionalities 251
Elaine Bernstorf
13. Understanding the Individualized Education
Program Model within the United States 278
Kimberly VanWeelden
14. Special Education and Special Music Education
Outside of the United States 296
Kimberly McCord
Index 303
FOREWORD
Sam looks everywhere but at the music teacher, who is describing how to play the mallet instru-
ment in front of her. His body movements are irregular; he lies down and rolls back and forth.
Sam’s typical classmates have seen this before and neither they nor their teacher are distracted or
concerned. They seem to know what will happen next. With the first sounds of the instrument,
two notes played with a steady pulse, Sam sits up, looks in the direction of the teacher, and imitates
playing the instrument, and in perfect time.
There are many children like Sam throughout the world. And there are oth-
ers to whom we have given any number of labels as a result of their unique
physical, behavioral, or learning characteristics. Does Sam have a disabil-
ity? If so, when, where, and under what conditions? Will music become an
important part of his life? How should we approach a music education for
Sam, or for any child for that matter? Where do we go for ideas?
For decades now, since I have worked as a choral and instrumental music
teacher and as a music therapist in hospital settings, I have been a strong
advocate for quality music experiences for all children. I am only one of
the many hundreds of advocates worldwide who share a common goal: to
create music environments in homes, schools, and communities where
every child can develop skills, deepen understanding, and cultivate inde-
pendence in a culture of accomplishment and joy.
My early experiences shaped my philosophy of inclusive education,
guiding my work in higher education where I now teach eager, bright-eyed
undergraduates and inquisitive graduate students. My goal is for my stu-
dents to learn skills for successful music teaching but also, importantly, to
learn how to think as a teacher encountering children from diverse back-
grounds; who vary considerably in their capabilities, interests, and levels
of motivation; and who present a variety of learning challenges. They will
need to learn how to think about Sam and how to create a music classroom
where Sam and all his classmates will learn. And as they continue their path
as teachers, as they think about what worked and what did not, I want them
to rely on past wisdom and explore new ideas and new perspectives.
( viii ) Foreword
Earning a degree is not the end of thinking and learning; it’s a point on
a continuum of growing awareness about ourselves and ways to work col-
laboratively to bring the joy of music to all children. Many of us continue to
think of ourselves as learners, and it is books such as this one by Deborah
VanderLinde Blair and Kimberly McCord that make thinking and learning
so rewarding, even for those of us who have been “learners” for some time.
Blair and McCord are household names for those in the global com-
munity who have attended meetings of the International Society for Music
Education Commission on Music in Special Education, Music Therapy and
Music Medicine. Others know of these highly regarded professionals from
their clinics and conference presentations, and many have benefited from
the wisdom found in their engaging articles and books. Blair and McCord
are the ideal individuals to bring together a collection of chapters written by
internationally prominent experts in their fields, all dedicated to improving
the musical lives of children with disabilities worldwide.
For many teachers, attendance at international and national confer-
ences is not possible. It is well past time for a book that brings teachers
international perspectives regarding a variety of pedagogical approaches,
programs, strategies, and technologies.
There is much to like about this book. Here you have a unique collection of
scholarly chapters by knowledgeable authors on a wide range of topics unified
in purpose and style, each supported by research, each with practical applica-
tions for pedagogy and inclusive classrooms. The descriptions of programs
and practices in other countries are intriguing. From this book, I am vividly
reminded of how much there is to know and the importance of talking with
one another, whether in spoken conversation or through written words.
Collective efforts have resulted in conferences and commissions that led
to important documents such as the first UNESCO document on special
needs education in 1994 and others to follow on arts education in 2006 and
inclusion in 2009. In a fitting, concluding chapter, Kim McCord directs our
thoughts to worldwide policies, providing important information about
developments concerning the Convention on the Rights of Persons with
Disabilities (2006) and how the United States and other countries have
responded to its ratification. Also included in this chapter is information
about special education policies and music education programs in the
countries of contributing authors.
Years of advocacy, litigation, and legislation in many countries have led
to dramatic reforms that affect deeply the lives of children with disabilities,
their teachers, and their families. Sam and millions of children now ben-
efit from inclusion in regular music classes with their typically developing
peers, and many benefit from increased music experiences with skilled, car-
ing pedagogues.
Foreword ( ix )
The challenges of working with widely diverse populations are many. The
issues are complex. This volume benefits from an international perspective,
a wide range of appealing topics, a variety of pedagogical approaches, and
numerous strategies. I applaud the editors and authors for their passion,
their knowledge, and their generosity. This book will be a valuable resource
for teachers, offering yet more ideas to ponder and strategies to implement
in their pursuit of bringing quality music experiences to all children of
the world.
Judith A. Jellison, PhD
Mary D. Bold Regents Professor in Music and Human Learning
University Distinguished Teaching Professor
Sarah and Ernest Butler School of Music
The University of Texas at Austin
Author of Including Everyone: Creating Music Classrooms Where All
Children Learn, Oxford University Press, 2015