Teaching Music to Students with Special Needs: A Practical Resource brings together theory, policy, and planning for instruction in K-12 classrooms. The resource is a result of collaboration between K-12 teachers, outstanding undergraduate and graduate music education students, and professionals in the field. The lesson ideas, lesson plans, and unit plans are organized according to the six domains posited by Alice Hammel and Ryan Hourigan in their book, Teaching Music to Students with Special Needs: A Label-free Approach, Second Edition. This book equips music educators with understanding necessary to implement teaching ideas into the domains of cognition, communication, behavior, emotions, and physical and sensory needs. Classroom-tested lesson plans include procedure outlines and assessments as well as guides for adaptation, accommodation, and modification needed for successful implementation in K-12 classrooms. As such, this eminently useful guide provides teachers with enough practical ideas to allow them to begin to create and adapt their own lesson plans for use with students of differing needs and abilities.
The Second Edition of Teaching Music to Students with Special Needs offers updated accounts of music educators' experiences, featured as vignettes throughout the book. An accompanying Practical Resource includes lesson plans, worksheets, and games for classroom use. As a practical guide and reference manual, Teaching Music to Students with Special Needs, Second Edition 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 updated list of resources, building upon the First Edition's recommendations.
This book is the first resource to provide a comprehensive study of the music education of students with autism. Topics include: diagnosis, advocacy, and a collegial team-approach, as well as communication, cognition, behavior, sensory, and socialization challenges.
This book is designed to teach music to people with special needs. Many of the activities and suggestions in this book could as easily come under the heading of recreational music, that is, the use of music for sheer enjoyment. For people with special needs, recreational music is tremendously important and can provide a safe place for the development of social skills, the release of emotions, and the satisfaction that comes from making music with others. Chapters cover dealing with specific disabilities and include activities that will facilitate the teaching of students who have these problems, "Books, Records, and Tapes" gives suggestions for further sources of information, and a section of addresses of various organizations provides places to obtain materials.
Teaching the Postsecondary Music Student with Disabilities provides valuable information and practical strategies for teaching the college music student. With rising numbers of students with disabilities in university music schools, professors are being asked to accommodate students in their studios, classes, and ensembles. Most professors have little training or experience in teaching students with disabilities. This book provides a resource for creating an inclusive music education for students who audition and enter music school. Teaching the Postsecondary Music Student with Disabilities covers all of the topics that all readers need to know including law, assistive technology, high-incidence and low-incidence disabilities, providing specific details on the disability and how it impacts the learning of the music student.
Using music as a medium for communication and development between teacher and pupil, rather than as a subject to be learned, this book responds to the problems of presenting music to children with special needs. It provides a simple and accessible programme of work, allowing the teacher to choose from an array of different lessons.
In the United States today, there are approximately 4 million children with a disability, many of whom are interested in--and capable of--learning a musical instrument, but are unable to find an instructor willing to take them on as students. Over the past decade, Karen Z. Kowalski, a pediatric occupational therapist and professional piano instructor, has combined OT applications with music theory to design a program that teaches piano to individuals with special needs--from the first private session to the, yes, concert hall. "Playing It Their Way" is based on her popular series of lectures designed to educate music instructors on the rewards of teaching this special--and still untapped--population of students. Using a lively mix of anecdotes and practical instruction, Kowalski offers tried-and-true methods (conventional and otherwise) for teaching music to special-needs students. Conditions such as Down syndrome, cerebral palsy, attention deficit disorders and autism are presented in an easy-to-understand format and geared specifically to music teachers. "Playing It Their Way" inspires instructors as well as parents to realize the musical potential in every disabled child.
Creating Music Classrooms Where All Children Learn
Author: Judith Jellison
Publisher: Oxford University Press
Many practical books for music educators who work with special needs students focus on students' disabilities, rather than on the inclusive classroom more generally. In Including Everyone: Creating Music Classrooms Where All Children Learn, veteran teacher and pedagogue Judith Jellison offers a new approach that identifies broader principles of inclusive music instruction writ large. As she demonstrates in this aptly-titled book, the perceived impediments to successfully including the wide diversity of children in schools in meaningful music instruction often stem not from insurmountable obstacles but from a lack of imagination. How do teachers and parents create diverse musical communities in which all children develop skills, deepen understanding, and cultivate independence in a culture of accomplishment and joy? Including Everyone equips music teachers with five principles of effective instruction for mixed special needs / traditional settings that are applicable in both classroom and rehearsal rooms alike. These five guidelines lay out Jellison's argument for a new way to teach music that shifts attention away from thinking of children in terms of symptoms. The effective teacher, argues Jellison, will strive to offer a curriculum that will not only allow the child with a disability to be more successful, but will also apply to and improve instruction for typically developing students. In this compelling new book, Judith Jellison illustrates what it takes to imagine, create, and realize possibilities for all children in ways that inspire parents, teachers, and the children themselves to take part in collaborative music making. Her book helps readers recognize how this most central component of human culture is one that allows everyone to participate, learn, and grow. Jellison is a leader in her field, and the wealth of knowledge she makes available in this book is extensive and valuable. It should aid her peers and inspire a new generation of student teachers.
Special Needs, Community Music, and Adult Learning is one of five paperback books derived from the foundational two-volume Oxford Handbook of Music Education. Designed for music teachers, students, and scholars of music education, as well as educational administrators and policy makers, this fourth book in the set focuses on issues and topics that help to broaden conceptions of music and musical involvement, while recognizing that development occurs through many forms. The first section addresses music education for those with special abilities and special needs; authors explore many of the pertinent issues that can promote or hinder learners who share characteristics, and delve deep into what it means to be musical. The second section of the volume addresses music as a shared, community experience, and the diverse and constantly evolving international practice of community music. The chapters in the third section provide evidence that the process of music education exists as a lifelong continuum that encompasses informal, formal, and non-formal methods alike. The authors encourage music educators to think in terms of a music learning society, where adult education is not peripheral to the priority of other age groups, but is instead fully integral to a vision for the good of society. By developing sound pedagogical approaches that are tailored to take account of all learners, the volume endeavors to move from making individual adaptations towards designing sensitive 'universal' solutions. Contributors Carlos R. Abril, Mary Adamek, Kenneth S. Aigen, Chelcy Bowles, Mary L. Cohen, William M. Dabback, Alice-Ann Darrow, John Drummond, Cochavit Elefant, David J. Elliott, Lee Higgins, Valentina Iadeluca, Judith A. Jellison, Janet L. Jensen, Patrick M. Jones, Jody L. Kerchner, Thomas W. Langston, Andreas C. Lehmann, Katrina McFerran, Gary E. McPherson, David Myers, Adam Ockelford, Helen Phelan, Andrea Sangiorgio, Laya H. Silber, Marissa Silverman, Rineke Smilde, David S. Smith, Kari K. Veblen, Janice Waldron, Graham F. Welch
While qualitative research has become increasingly popular in music education over the last decade, there is no source that explains the terms, approaches and issues associated with this method. In The Oxford Handbook of Qualitative Research in American Music Education, editor Colleen Conway and the contributing music educators will provide that clarification, as well as models of qualitative studies within various music education disciplines. The handbook outlines the history of qualitative research in music education and explores the contemporary use of qualitative approaches in examining issues related to music teaching and learning. It includes 32 chapters and is divided into five parts. Part I defines qualitative research and examines historical, philosophical and ethical issues associated with its use in music education. Part II discusses ways of approaching qualitative research including: case study, ethnography, phenomenology, narrative inquiry, practitioner inquiry, and mixed methods. Ways of collecting and analyzing data are examined in the third part of the text (observations, interviews, document analysis, music as data and technology). Part IV examines various music teaching and learning contexts that have been studied using qualitative approaches including: early childhood, general, instrumental-band, instrumental-string, choral, preservice and inservice teacher education, adult and community settings, student with exceptionalities, underserved populations, and world music. The final section of the book tackles permission to conduct research, teacher qualitative research, publishing qualitative research and direction for the future. An ambitious and much-needed volume, this handbook will stand as a key resource for drawing meaning from the experiences of students and teachers in music classrooms and communities.
"The fact is, you will teach." from the Foreword by Stephen Clapp, Dean Emeritus, The Julliard School. Whether serving on the faculty at a university, maintaining a class of private students, or fulfilling an invitation as guest artist in a master class series, virtually all musicians will teach during their careers. From the Stage to the Studio speaks directly to the performing musician, highlighting the significant advantages of becoming distinguished both as a performer and a pedagogue. Drawing on over sixty years of combined experience, authors Cornelia Watkins and Laurie Scott provide the guidance and information necessary for any musician to translate his or her individual approach into productive and rewarding teacher-student interactions. Premised on the synergistic relationship between teaching and performing, this book provides a structure for clarifying the essential elements of musical artistry, and connects them to such tangible situations as setting up a studio, teaching a master class, interviewing for a job, judging competitions, and recruiting students. From the Stage to the Studio serves as an essential resource for university studio faculty, music pedagogy teachers, college music majors, and professionals looking to add effective teaching to their artistic repertoire.
Music education takes place in many contexts, both formal and informal. Be it in a school or music studio, while making music with friends or family, or even while travelling in a car, walking through a shopping mall or watching television, our myriad sonic experiences accumulate from the earliest months of life to foster our facility for making sense of the sound worlds in which we live. The Oxford Handbook of Music Education offers a comprehensive overview of the many facets of musical experience, behavior and development in relation to this diverse variety of contexts. While the first volume primarily focuses on children during school-age years, this second collects an international list of contributors to explore how music learning takes place outside of the traditional classroom environment. Discussing a range of issues such as music education for the special needs population, music learning in adulthood, and music learning through media and technology these chapters help to broaden conceptions of music and musical involvement. Whether they are used individually or in tandem, the two volumes of The Oxford Handbook of Music Education update and redefine the discipline, and show how individuals across the world learn, enjoy and share the power and uniqueness of music.
This book gathers articles from state journals that give music teachers ideas on how to include special needs students, discusses why special learners benefit from music education, offers suggestions for dealing with specific types of special needs students, and addresses teachers' responsibilities and support under the Individuals with Disabilities Education Act (IDEA).
Musical Activities, Songs, Instruments and Resources
Author: Pamela Ott
Publisher: Jessica Kingsley Publishers
Music is a powerful means of engaging children with developmental disabilities such as Autism Spectrum Disorders, Down's Syndrome and Cerebral Palsy. This lively music activity book shows how music can be an effective and enjoyable way to enhance the education and development of children with special needs. Packed with inspiring tips, activities and song ideas, this practical resource will have everybody singing, clapping and playing along! It explains simple and fun ways of using songs, instruments and musical games to connect with children of all levels of ability, and includes helpful rhythm worksheets and sheet music. There is a wide range of suggestions for songs and activities that encourage communication, increase self-esteem, stimulate fine and gross motor skills and motor coordination, and promote relaxation. This book of toe-tapping music activities is a must-have for parents, teachers, caregivers, music therapists and anybody else working with children with developmental disabilities.
Obwohl der 10-jährige August schon 27 Operationen hinter sich hat, ist sein Gesicht durch Gendefekte immer noch schwer entstellt. Nun soll er erstmals eine Schule besuchen und trifft dort nicht nur auf wohlgesonnene Mitschüler. Ab 12.
Frank McCourts Erinnerungen an seine Jahre als Lehrer Dreißig Jahre lang hat Frank McCourt, der Amerikaner mit der unglücklichen irischen katholischen Kindheit, in New Yorker Schulen unterrichtet. Jetzt erzählt er, was er von seinen insgesamt zwölftausend Schülern gelernt hat – als Lehrer, als Geschichtenerzähler, als Schriftsteller. Ein Buch, wie man es liebt, aber selten findet: voll Witz und Charme, voll Verzweiflung, Ironie und Lebensweisheit.