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#ISMESpecialEdMT 2
Welcome to the Special Music Education &
Music Therapy Commission ’s Seminar!
Itismyprivilegetowelcomeyoualltothe2016ISMECommissionon
SpecialMusicEducation&MusicTherapypre-conferenceseminarin
Edinburgh.
Thethemeofthisyear’sseminaris“ImaginetheFuture:Everyoneplays
music.”Thethemeoftheseminaraloneportraysourvisionofaworld,
inwhichmakingandlearningmusicispossibleforeveryone.Itcanbe
saidthattheSpecialMusicEducationandMusicTherapyCommission
concentratesonthemostrelevantquestion:howtoremoveobstaclesto
musicandtoprovideinnovativestrategiesforinclusivemusiceducation.
Atthesametimeourmissionistoreportthepositiveoverallinfluence
thatmusichas.
Theseminaroffersanexcellentoverviewofthelatestresearch,
practices,andinnovationsinthefield.Theseminarisalsoagreat
opportunitytomeetcolleaguesfromallovertheworld,toform
networks,andtomakenewfriends.Throughcollaborationand
friendshipwearestrongerandourvoicesarebetterheardwhilemaking
ourdreamareality:“Everyoneplaysmusic”.
I’dliketothankalltheSpecialMusicEducationandMusicTherapy
Commission’sleadersfortheirhelpanddedicationtofulfillthe
commission’sgoalsandtomaketheseminarhappen.Bigthanksalsoto
theCommissionLiaisonDr.KimberlyMcCord,whohasconsultedand
greatlysupportedtheCommissionandmyownwork.Iwouldalsoliketo
expressimmensethankstotheseminar’shostorganizationsDrake
MusicScotlandandReidSchoolofMusic(ECAUniversityofEdinburgh)
onbehalfofmyself,ISME,andtheSpecialMusicEducationandMusic
TherapyCommission.SpecialthanksgototheDrakeMusicScotland’s
ProgrammeManagerEmmaLines,whohasbeenresponsibleformostof
thepracticalarrangements,briefings,andoverallorganizing.
Thebiggestthanksgototheseminarpresenters,whowillsharetheir
expertiseandknowledgewitheveryone,andwhoparticipatein
networkingandsharingthelatestnewsofthefield.Ihopethatyouall
havegreatmomentsandencountersduringtheseminar!
#ISMESpecialEdMT 3
TheSpecialMusicEducationseminarin2016isdedicatedtoJanet
Montgomery,whopassedawaythisspring.Shewasanearlyleaderin
specialmusiceducationpositionsandworkedasapioneerinthefield.In
addition,shewasthechairoftheSpecialMusicEducation&Music
TherapyCommissionformostofthe1980’sthrough2002.
MarkkuKaikkonenChairISMECommissiononSpecialMusicEducation&MusicTherapy
#ISMESpecialEdMT 4
IMAGINE THE FUTURE: Everyone Plays Music -
Welcome from Drake Music Scotland
Drake Music Scotland is delighted to host the ISME Commission on
Special Music Education and Music Therapy’s Pre-conference Seminar
withourco-hostsEdinburghUniversityReidSchoolofMusic.Weexpress
awarmScottishwelcome toall delegates,whohave come frommany
countries around the world to Edinburgh for a packed four-day
programme of stimulating presentations, practical workshops and
performancesrepresentingthewiderangeofexcitingworkinourfield.
Ourcorebelief–sharedwithmanyofourcolleagues–isthatit isvital
for disabled musicians and all those who need additional support to
have the same opportunities as their peers to actively participate in
music-making, benefit from a music education, and be included in
creativeandculturalactivitiesofallkinds.
TheaimsofthePreConferenceSeminarareforustocometogetherto:
•PromotePracticeandResearchinthefieldsofSpecialMusicEducation
andMusicTherapythrougharangeofpresentations;
• Exchange information regarding training and education standards in
thesefields;
• Foster international dialogue and discussion between practitioners,
researchers,fundersandpolicy-makers;
•Disseminateexamplesofgoodpracticeandresearchinitiatives
Everydayweseehowtheopportunitytobeinvolvedinplaying,learning
andmakingmusicwith others, to be part of a band or ensemble and
take part in concerts before a public audience, can benefit people in
many different ways. Our Artistic Programme includes projects in
special schools throughout Scotland,weekly tuition for individuals and
ensembles at our Edinburgh base including our newly formed Digital
Orchestra, and high-profile performance projects with key national
figuresandorganisationssuchasSir JamesMacMillan-Scotland’spre-
eminent contemporary composer - the Royal National Orchestra of
Scotland, Scottish Chamber Orchestra and Royal Conservatoire of
Scotland. This work and that of our colleagues promoting the
development of musical and creative skills also produces a range of
personal and social benefits: increased mobility and co-ordination,
improvedlanguageandcommunicationskills,betterphysicalandmental
wellbeing, boosted confidence and self-esteem, an enhanced sense of
#ISMESpecialEdMT 5
self-worthand identity,widersocialhorizons,abetterqualityoffamily
andcommunitylife.
As well as this, training and professional development opportunities
should be available to disabled musicians who want to develop a
professionalcareer,asplayersandperformers,composers,teachersand
music leaders, and as the best role models to inspire the next
generation.Toensurethefutureofthiswork,astrongbodyofevidence
basedonrobustresearch isessential. DrakeMusicScotlandviewsthis
conference itself as an example of theway forwardwith partnerships
andcollaborationsbetweenacademiccentresofexcellence,educational
institutes, organisations in the cultural sector, and individual artists
beingforgedtonurturethepotential formoreactivitybasedonbetter
informationtoleadthewaytothefuture.
We believe in inclusion. The contribution made by people with
disabilitiestoourartisticandculturallifeisfundamentaltoensureweall
benefitfromahealthy,equalandfairsocietywhereeveryone’svoiceis
heard and where we are all enriched by diverse perspectives and
viewpoints.Wehopeyouwillcontinuewithusonthisexciting journey
andwould liketogiveresoundingthankstoeveryone involved in ISME
2016.
ThursaSandersonOBEChiefExecutiveDrakeMusicScotland
#ISMESpecialEdMT 6
This
year’s
#ISMESpecialEdMT 7
The 2016 Pre Conference Seminar In Special Music
Education and Music Therapy is dedicated to
Janet Montgomery
Formerlong-timeISMEmemberandchairoftheCommissiononSpecial
MusicEducationandMusicTherapy,JanetMontgomery,diedMarch
19th2016.
AtthetimeofherdeathshewasDivisionChairofMusicEducationatthe
UniversityofMarylandatCollegePark.Janetwasthelongestserving
chairoftheCommissionandwasoneofthefirstspecialmusiceducators
intheUnitedStates.Sheproducedmanypublications,presentations,
andreceivedmanyawardsinoverfortyyearsinmusiceducation.
Afteraten-yearabsencefromISME,shehadhopedtoattendthe2016
WorldConference.Janetworkedtirelesslytofurthertheimportanceof
musicforallchildren,includingthosewithdisabilities.Herworkliveson
throughthethousandsofstudentsshetaughtduringhercareerandher
manyseminalarticles.
#ISMESpecialEdMT 8
DAYONE–Wednesday20thJuly20168.00am–9.00am REGISTRATION
9.00am–10.00am WelcomefromMarkkuKaikkonen,CommissionChair,
ThursaSandersonOBE,andDrakeMusicScotlandpresent
“ImaginetheFuture-EveryonePlaysMusic”–PeteSparkes
10.00am–11.00am ImagineTheFutureWorkshops–Chooseone
1-Creatingalevelplaying
fieldformusicand
assessmentinspecial
schools–Jonathan
Westrup,DrakeMusic
or 2-'TheClarion'-a
quantumleapin
accessiblemusic
technology–Barry
Farrimond,OpenUp
11.00am–11.30am CoffeeBreak
11.30am–12.30pm ImagineTheFutureWorkshops–Chooseone
3–MakeMusic,Change
Lives:NordoffRobbins
Scotlandmusictherapy
presentationand
experientialworkshop–
SandyMatheson,Nordoff
RobbinsScotland
or 4–Figurenotes©and
everybodycanplay–
MarkkuKaikkonen,
Resonaariand
Figurenotes
Resources-Lauren
Clay,DrakeMusic
Scotland
12.30pm–1.00pm Paper1-TheRoleofMusictoFacilitateTransitionforOlder
Students:UIREACHProgramatTheUniversityofIowa-
MaryS.Adamek
1.00pm–1.30pm Paper2-Figurenotes,FacilitatingMusicalEngagement:a
PerspectivefromAustralia-MatthewBreaden
1.30pm–2.30pm LUNCH
2.30pm–3.00pm Paper3-Hearingcolors-Theperceptionofmusicemotion
andtheassociationwithcolors-Ching-ChiehChen
3.00pm–3.30pm Paper35-Applicationsofmeditationandsingingfor
Parkinson'sdisease:Apilotstudy-Wei-ChunWang,Ching-
ChiehChen
3.30pm–4.00pm Paper5-AStudyofCreativeDanceActivitiesonDementia
FamilyCaregivers-Kuang-TsuChiang&Wei-ChunWang
4.00pm–4.30pm Paper6-MusicTherapists’UseofMusictoFacilitate
ReadingDevelopmentinChildren-CynthiaM.Cross
4.30pm–5.00pm CoffeeBreak
5.00pm–5.30pm Paper7-CollaboratingwithSpecialEducators–MaraE.
Culp
5.30pm–6.00pm “ExceptionalMusicPedagogyforChildrenwith
Exceptionalities”–BookLaunch
6.00pm–7.30pm WineandCanapéReception
7.30pm–9.00pm OpeningConcertHostedbyDrakeMusicScotland
EndofDayOne
#ISMESpecialEdMT 9
RoomsareindicatedintheLefthandcolumn.
SouthHallandKirklandSuite
DAYTWO–Thursday21stJuly20168.00am–8.30am Paper8-TheEffectofPeerModelingontheRateof
AppropriateBehaviorsExhibitedbyStudentswith
DisabilitiesinMultiple-AgeSettings-LauraMeehan,
ChristyTodd,Alice-AnnDarrow
8.30am–9.00am Paper9-SpecialMusicEducationandMusicTherapy
CollideswithScience-HelenJFarrell
9.00am–9.30am Paper10-Everyoneiswelcometoplay!BringingSpecial
MusicEducationintoScuolaMusicaleGiudicarie:
challenges,resourcesandresultsforalongtermexperience
ofjoyfullymakingmusic-GabriellaFerrari
9.30am–10.00am Paper11-TheImpactofaServiceLearningCollaborative
PerformanceProjectonChoralStudents’AttitudesToward
IndividualswithDisabilities-RhondaViethFuelberth
10.00am–10.30am Paper12-NewVoices:MTServicesforCulturallyand
LinguisticallyDiverseStudentswithMultipleDisabilities-
AmeliaGreenwaldFurman
10.30am–11.00am CoffeeBreak
11.00am–11.30am Paper13-DisabilityPorn:AQualitativeAnalysisof
CommentsonMusicandPersonswithDisabilitiesFoundon
InternationalYouTubePosts-MichelleHairston,Alice-Ann
Darrow
11.30am–12.00pm Paper14-ExperiencesandPerceivedOutcomesinTeaching
ExecutiveFunctioningtoElementarySchoolChildren
ThroughMusic,Visual,andPerformingArtsIntegration-Dr.
BethanieL.Hansen
12.00pm–12.30pm Paper15-Many-SidedMusicEducationApproachesfor
DiverseLearners-MarkkuKaikkonen
12.30pm–1.30pm PosterSessions
1.30pm–2.30pm LUNCH
2.30pm–3.00pm Paper16-AQualitativeAnalysisofEvaluativeComments
MadebyOlderandYoungerParticipantsinMultiple
IntergenerationalMusicPrograms:Implicationsforthe
GlobalAgeingPerspective-MelitaBelgrave,Alice-Ann
Darrow
3.00pm–3.30pm Paper17-TheimpactofFigurenotessystemformusic
educationalequityinFinland-SannaKivijärvi
3.30pm–4.00pm Paper18-ACaseStudyofUsingHolisticMusicEducational
ApproachonDevelopingYoungChildrenwithMultiple
DisabilitiesCommunicationSkillsandPhysicalMovement-
LizaLee
#ISMESpecialEdMT 10
4.00pm–4.30pm Paper20-LearningDisabilitiesandMusic–KimMcCord
4.30pm–5.00pm CoffeeBreak
5.00pm–5.30pm Paper21-musicALL-AnInclusiveMusicProjectat
HazelwoodSchool-aschoolforyoungpeopleaged2-18
yearswithSensoryImpairmentandAdditionalComplex
LearningNeeds.-JulieMcKenzie
5.30pm–6.00pm Paper22-TheRiseofDisabilityasIdentityandCulture:
ImplicationsforMusicEducatorsandResearchers-Sierra
Norris
6.00pm–7.00pm RoundTable-Interdisciplinarydialoguesinmusic,health
andwellbeing-GiorgosTsiris(Chair),Dr.Philippa
Derrington,PeteSparkes,Dr.NetaSpiro,Dr.Graeme
Wilson
7.00pm–8.00pm FREETIME/TRAVELTOCEILIDH
8.00pm–11.00pm CeilidhBytheBeach
EndofDayTwo
RoomsareindicatedintheLefthandcolumn.
SouthHallandKirklandSuite
#ISMESpecialEdMT 11
DAYTHREE–Friday22ndJuly20168.00am–8.30am Paper23-LIQUIDVIBRATIONSapracticeofunderwater
deeplistening–JoelCahen
8.30am–9.00am Paper24-MusicProgramswithinSchoolsfortheDeaf:A
PreliminaryInvestigationintotheRoleofMusicinDeaf
Culture–JaclynF.Paul
9.00am–9.30am Paper25-TheChoirBehindtheWire:Musictherapyfor
inmaterehabilitation–LornaSegall
9.30am–10.00am Paper26-JoiningForces:ImpactsofMusicEducationand
MusicTherapyCollaborationinanEvent-based
IntergenerationalProject-Dr.MelitaBelgrave,Dr.Charles
Robinson,Ms.LisaTironi
10.00am–10.30am Paper27-NICU-MTforPrematureInfants:ASurvey
ShowingThatResearchandTrainingLeadtoClinical
Specialty-JayneM.Standley
10.30am–11.00am CoffeeBreak
11.00am–11.30am Paper28-PreparingStudioMusicTeacherstoTeach
StudentswithAutism-ErinParkes
11.30am–12.00pm Paper29-ICanPlay!–Digitally-basedmusickingwith
childreninneedofspecialsupport-BoNilsson
12.00pm–12.30pm Paper30-PLAYSPACEMUSIC–Improvisationworkshopfor
musiciansanddancerswithandwithoutdisabilities-Shirley
Salmon
12.30pm–1.00pm Paper31-ACaseStudyComparisonofaMusicTherapist
andAMusicEducatorinanAmericanPublicSchool-
JacquelineC.Smith
1.00pm–1.30pm Paper32-SpanishMusicEducationMajors'ComfortLevels
toTeachMusictoStudentswithSpecialEducationNeeds–
FredSpano
1.30pm–2.30pm LUNCH
2.30pm–3.15pm Workshop1-mUsiKcare:ApplicationsfromaMusicand
WellnessOlderAdultPianoProgram-VickiStevensMcVay,
OliviaSwedbergYinger,LoriFogusGooding
3.15pm–4.00pm Workshop2-KeepaBeat:TheImpactofRhythmon
AttentionBehaviorsofChildrenintheClassroomGroup
Setting-KamileGeist,EugeneGeist
4.00pm–4.30pm Paper33-ActualisationTheHealingEffectsOfMusicIn
ModernEducation-ToropovaAlla,LvovaTatiana
4.30pm–5.00pm CoffeeBreak
5.00pm–5.30pm Paper34-Singingandlearning:Musicininclusiveearly
childhoodsettings–PotheiniVaouili
5.30pm–6.15pm Workshop3-FiguringOut’Figurenotes:Rewardsand
ChallengesinImplementingFigurenotesNotationinthe
GeneralMusicClassroom-NancyO'Neill,KimberlyMcCord
6.15pm–7.00pm Workshop4-ADAPT:AComprehensiveModelforSpecial
MusicEducationinaPrivateLessonSetting-ErinParkes
#ISMESpecialEdMT 12
7.00pm–7.45pm Workshop5-Makingmusicinaself-determinedway:Ideals
ofInclusioninmusicteachingpractice-RobertWagner
7.45pm–8.30pm Workshop6-STOP:EnhancingExecutiveFunctionsthrough
MusicLearning–ElaineBernstorf
EndofDayThree
RoomsareindicatedintheLefthandcolumn.
SouthHallandKirklandSuite
#ISMESpecialEdMT 13
DAYFOUR–Saturday23rdJuly20168.45am–9.15am Paper4-ACaseStudyonMusicActivitiestoInteraction
withPeersofaChildwithAutism–JessieChen
9.15am–9.45am Paper37-WhoseJobIsIt?TheRolesofTeacherand
ParaeducatorintheMusicClassroom-Dr.Kimberly
VanWeelden,Ms.KennaVeronee,Mrs.LauraSingletary
9.45am–10.15am Paper38-PeerInteractionInstructionandActivities:
ObservationsofFirst-GradeInclusiveMusicClassroom-
Draper,E.,Brown,L.,andJellison,J.
10.15am–11.00am Workshop7-Kodaly-BasedMusicActivitiesforChildren
withanAutismSpectrum-Dr.MaritzaSadowsky
11.00am–11.30am CoffeeBreak
11.30am–12.00pm ImagineThe
Future
Performance
Presentations
VollgasConnected,MusikschuleFürth,
RobertWagner
12.00pm–12.30pm SouthWestOpenYouthOrchestra–
OpenUp,DougBottandBarryFarrimond
12.30pm-1.00pm TheGlovesAreOn–DrakeMusic,Kris
Halpin
1.00pm–2.00pm LUNCH
1.00pm–2.30pm ImagineThe
Future
Performance
Presentations
Resonaarigroup–Resonaari,Markku
Kaikkonen
2.30pm–3.00pm IMAGINE-AGlimpsetotheFutureof
MusicEducation-Imagine,RoyTal
3.00pm–3.30pm DigitalOrchestra–DrakeMusicScotland,
PeteSparkes
3.30pm–4.00pm CertificatesandClosing
EndofDayFour
RoomsareindicatedintheLefthandcolumn.
SouthHallandKirklandSuite
#ISMESpecialEdMT 14
DAY ONE Wednesday 20th July 2016
#ISMESpecialEdMT 15
DAYONE–Wednesday20thJuly20168.00am–9.00am REGISTRATION
9.00am–10.00am WelcomefromMarkkuKaikkonen,CommissionChair,
ThursaSandersonOBE,andDrakeMusicScotlandpresent
“ImaginetheFuture-EveryonePlaysMusic”–PeteSparkes
10.00am–11.00am ImagineTheFutureWorkshops–Chooseone
1-Creatingalevelplaying
fieldformusicand
assessmentinspecial
schools–Jonathan
Westrup,DrakeMusic
or 2-'TheClarion'-a
quantumleapin
accessiblemusic
technology–Barry
Farrimond,OpenUp
11.00am–11.30am CoffeeBreak
11.30am–12.30pm ImagineTheFutureWorkshops–Chooseone
3–MakeMusic,Change
Lives:NordoffRobbins
Scotlandmusictherapy
presentationand
experientialworkshop–
SandyMatheson,Nordoff
RobbinsScotland
or 4–Figurenotes©and
everybodycanplay–
MarkkuKaikkonen,
Resonaariand
Figurenotes
Resources-Lauren
Clay,DrakeMusic
Scotland
12.30pm–1.00pm Paper1-TheRoleofMusictoFacilitateTransitionforOlder
Students:UIREACHProgramatTheUniversityofIowa-
MaryS.Adamek
1.00pm–1.30pm Paper2-Figurenotes,FacilitatingMusicalEngagement:a
PerspectivefromAustralia-MatthewBreaden
1.30pm–2.30pm LUNCH
2.30pm–3.00pm Paper3-Hearingcolors-Theperceptionofmusicemotion
andtheassociationwithcolors-Ching-ChiehChen
3.00pm–3.30pm Paper35-Applicationsofmeditationandsingingfor
Parkinson'sdisease:Apilotstudy-Wei-ChunWang,Ching-
ChiehChen
3.30pm–4.00pm Paper5-AStudyofCreativeDanceActivitiesonDementia
FamilyCaregivers-Kuang-TsuChiang&Wei-ChunWang
4.00pm–4.30pm Paper6-MusicTherapists’UseofMusictoFacilitate
ReadingDevelopmentinChildren-CynthiaM.Cross
4.30pm–5.00pm CoffeeBreak
5.00pm–5.30pm Paper7-CollaboratingwithSpecialEducators–MaraE.
Culp
5.30pm–6.00pm “ExceptionalMusicPedagogyforChildrenwith
Exceptionalities”–BookLaunch
6.00pm–7.30pm WineandCanapéReception
7.30pm–9.00pm OpeningConcertHostedbyDrakeMusicScotland
EndofDayOne
#ISMESpecialEdMT 16
8.00am–9.00am–RegistrationatSouthHalls
Alldelegatestosignin,collectdelegatebadgesandbagsandother
informationabouttoursandconcertsbeforetheconferencebegins.
9.00am–10.00am–Welcomeand“ImaginetheFuture–EveryonePlaysMusic”
• WelcomefromCommissionChair,MarkkuKaikkonen
• WelcomefromHosts,DrakeMusicScotland’s,ThursaSanderson
OBE
• “ImaginetheFuture–EveryonePlaysMusic”–PeteSparkes
---
“Imagine the Future – Everyone Plays Music”
Pete Sparkes, Drake Music Scotland
DrakeMusicScotlandisScotland’sleadingcharitycreatingopportunities
forpeoplewithdisabilitiestoPLAY,LEARN,COMPOSE&PERFORM
music.ArtisticDirector,PeteSparkes,willspeakaboutthewiderangeof
projectscurrentlytakingplaceinScotland,highlightingtheuseofMusic
TechnologyandFigurenotesnotation.Ourfirmbeliefisthateveryone
shouldhavetherighttoaprogressiveMusicEducationandbeableto
say“ICANPLAYMUSIC”.Wecanachievethisaslongaswekeephaving
brightideas,bravepartnerships,andhugeenthusiasmforchange!
PeteSparkes-PetehasledtheartisticprogrammeofDrakeMusic
Scotlandsince2010,thisperiodincludinghighprofilenewcommissions
incollaborationwiththeScottishChamberOrchestra,RoyalScottish
NationalOrchestra,NationalYouthJazzOrchestraofScotlandand
TechnophoniabyOliverSearlepartofthe2012CulturalOlympiad.
Hisspecialismisworkingcreativelywithchildrenandadultswith
AdditionalSupportNeeds–includingtheuseofmusictechnologyand
DAY ONE Wednesday 20th July 2016
#ISMESpecialEdMT 17
otherinnovativetoolslikeFigurenotesnotationfromtheResonaari
SchoolinFinland.
HedeliverstrainingandprofessionaldevelopmentforDrakeMusic
Scotlandandisindemandasaspeakeratmusiceducationconferences.
Healsoco-leadsacourseattheRoyalConservatoireofScotlandwith
composerOliverSearle:CreativeCompositionwithDrakeMusic
Scotland.
PetewasEducationOfficeroftheScottishChamberOrchestrafrom
2002-2005andhasdeliveredcreativeprojectswiththeScottishBook
Trust,ScottishChamberOrchestra,BBCScottishSymphonyOrchestra,
ArtlinkCentral,andJessie’sFund.
www.drakemusicscotland.org
petesparkes@drakemusicscotland.org
10.00am–11.00am–ImaginetheFutureWorkshopsChooseoneofthefollowing(maximumnumbersapply)–Choicesshould
bemadeatregistrationondayone.
Workshop1
Creating a level playing field for music and assessment in special schools
Jonathan Westrup, Drake Music
Thelasttenyearshaveseenprogressinhowweassessthemusical
progressofchildrenandyoungpeoplewithspecialeducationalneeds
and/orphysicalimpairments.Inparallelwiththis,opportunitiesfor
meaningfulparticipationinmusichaveincreasedviaimprovedand
cheaperaccessiblemusictechnologyandtheestablishmentofdisabled-
ledensemblesandorchestrasnationally.Inthissession,Jonathan
Westrupwillsharehisexperiencesofwritingandrunninganaccessible
musiccourse,DrakeMusic’s‘ComposeandPerform’course.He’llalso
considerthecurrentofferfromestablishedmusicexaminationsand
DAY ONE Wednesday 20th July 2016
#ISMESpecialEdMT 18
coursesintheUKanddiscusshowamorelevelplayingfieldmightbe
achievedinthisareaoverthecomingyears.
JonathanWestrup-JonathanisMusicEducationManagerforDrake
Music.Hisworkaimstoincreaseopportunitiesfordisabledmusiciansto
engagewithmusiceducation,includingbeingassessedorgaining
accreditedoutcomesinmusic.ThisroleiscloselytiedtoDrakeMusic’s
three-yearThink2020initiative(fundedbyYouthMusic)whichhasa
focusonsupportingstrategicandsustainablepartnershipworkinthe
musiceducationsectoraroundSENDandmusic.
JonathanwaspreviouslyresponsibleforthedailyrunningofDrake
Music’spioneeringDMEducationinitiativewhichwasnationally
influentialinincreasingawarenessofandaccesstoaccreditationand
formalassessmentinmusicforSEN/Disabledyoungpeopleandadults.
ThisincludedthecreationoftheComposeandPerformcourse,oneof
thefirstdisabled-ledmusiccoursesintheUK.Sincethen,over150
disabledmusicianshavegainedanaccreditedoutcome.
JonathanhasalsopreviouslytaughtMusicatsecondarylevelandwas
theYouthCultureDevelopmentWorkerforyouthclubsinSouthBristol
formanyyears.HecurrentlydeliversmusicsessionsforSouth
GloucestershireMusicHubandLiveMusicNow.
Inhissparetimeheenjoysplayinginbandsandcyclingroundcountry
laneswithfriendsonavintageItalianracerwhichhasseenbetterdays.
www.drakemusic.org
jonathanwestrup@drakemusic.org
Workshop2
'The Clarion' - a quantum leap in accessible music technology
Barry Farrimond, OpenUp Music
DAY ONE Wednesday 20th July 2016
#ISMESpecialEdMT 19
Forthepast2yearsOpenUpMusichavebeendesigninganddeveloping
anewaccessiblemusicalinstrumentcalled"TheClarion".TheClarion
representsaquantumleapinaccessiblemusictechnology,an
instrumentthatiscompletelycustomisableandplayableusinganypart
ofthebody,includingthehead,feetorevenbymovingyoureyes.
OpenUpMusic'sCEOandTechnicalDirectorBarryFarrimondtalksabout
thejourneytheinstrumenthasbeenon,andthepossibilitiesithas
alreadyopenedupforyoungdisabledmusicians,includingthelaunchof
theSouth-WestOpenYouthOrchestra-theUK'sfirstdisabled-led
regionalyouthorchestra.
BarryFarrimond-BarryFarrimondhasover10yearexperience
developing,strengtheningandleadingsocialenterpriseandthird-sector
artsorganisations.Respectedasanauthorityonthedevelopmentand
applicationofaccessiblemusictechnology,heco-foundedOpenUp
Musicin2014withMusicalDirectorDougBott.DuringhistimeasChief
ExecutiveforOpenUpMusichehasoverseenarangeofambitious
projectsincludingthelaunchoftheUK’sfirstOpenSchoolOrchestras
andtheformationoftheSouth-WestOpenYouthOrchestra(theUK’s
firstdisabled-ledregionalyouthorchestra).In2011hewasleadauthor
fortheNationalFoundationforYouthMusictopicalreviewdocument
“EngagementwithTechnologyinSpecialEducational&DisabledMusic
Settings”andisaregularspeakeronthesubject.Barryisdrivenbya
beliefthatyoungdisabledmusiciansdeservemoreaffordable,
expressivemusicalinstrumentsandbetteropportunitiestoprogressin
thearts.
http://openupmusic.org
barry@openupmusic.org
COFFEE BREAK 11.00am – 11.30am
11.30am–12.30pm–ImaginetheFutureWorkshopsChooseoneofthefollowing(maximumnumbersapply)–Choicesshould
bemadeatregistrationondayone
DAY ONE Wednesday 20th July 2016
#ISMESpecialEdMT 20
Workshop3
Make Music, Change Lives: Nordoff Robbins Scotland music therapy presentation and experiential workshop
Sandy Matheson, Nordoff Robbins Scotland
NordoffRobbinstherapistsbelievethattheabilitytorespondtomusicis
somethingthatallhumanbeingsshare,whateverourlifehistories,
abilitiesanddisabilities.TheNordoffRobbinsapproachtomusic
therapymakesuseofcreativity,flexibility,andmusicalitytohelp
supportindividuals’developmentineducationalsettings.Music
therapistSandyMathesonwillpresentanoverviewoftheNordoff
Robbinsapproachtomusictherapyincludingcasestudies.Participants
arealsoinvitedtotakepartinaninteractiveworkshopdemonstrating
someoftheskillsandtechniquesusedbymusictherapiststopromote
healthyexperiencesforindividuals.
SandyMatheson-SandyMathesonisoriginallyfromDundeeand
studiedMusicattheUniversityofLancaster.Afteralongcareerinmusic
retailing,heretrainedasaMusicTherapist,graduatingfromtheMasters
inMusicTherapy(Nordoff-Robbins)DegreeprogrammeatQueen
MargaretUniversityin2010.SandyjoinedNordoff-RobbinsMusic
TherapyinScotlandinAugustof2010,dividinghistimebetweenworkat
theBroxburnclinicandoutreachworkinFife.
Sandyworkswithchildrenandadultswitharangeofneedsincluding
mentalhealthproblems,learningdifficultiesandautism.Hiscurrent
outreachworktakesplaceinthreeschoolsandarespitecentrefor
childrenwithprofoundmultiplelearningdifficulties.
http://nordoffrobbinsscotland.org.uk/
SandyMatheson@nrscot.org.uk
Workshop4
Figurenotes© and everybody can play
Markku Kaikkonen, Director, Special Music Centre Resonaari
DAY ONE Wednesday 20th July 2016
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FigureNotes©andeverybodycanplay
Figurenotesisamethodofnotatingmusicinaconcreteway,bymeans
ofcoloursandshapes.Thisparticularnotationgivesthesamemusical
informationasconventionalnotation,suchasnotes,notevalues,rests,
sharps,flats,octavesandchords.Coloursandshapesindicatethekeys
orfretsofaninstrument.Therefore,Figurenotesnotationisaconcrete
wayofnotatingmusicthatalsoserveslearnerswhohavesevere
difficultiesinunderstandingabstractions.
ThefeaturesofFigurenotesmaybedescribedbythefollowingfour
terms:
1.Concreteness
Figurenotesisaconcretenotationmethod.Thusanyonecanplaywhois
capableofmatchingtwosymbols(theoneintheFigurenotesandthe
oneontheinstrumentsticker).
2.Suitability
Figurenotesissuitableforallcompletebeginners.Italsoenablespeople
tomakemusicwhoforonereasonoranotherfinditeitherdifficultor
impossibletoassimilateorlearntheconventionalabstractnotation.
3.Correspondence
Figurenotescangiveallthesamemusicalinformationasconventional
notation.Asaresult,itiseasyforplayerstoswitchtoconventional
notation,solongastheyarecapableofunderstandingabstractsymbols.
4.Applicability
Figurenotesisaformofmusicalnotation,sonaturallyitcanbeapplied
inthesamewayasconventionalnotation.Inotherwords,Figurenotes
canbeappliedtoallkindsofmusic-making,bothinstrumentalandvocal.
Iftheteacherortherapistconsidersthatitispurposefultoapply
notationintheteachingormusicmaking,Figurenotescanbea
remarkablepedagogicaltoolforenhancingthestudent’sorclient´s
learningandcommitment.ApplicationsandapproacheslikeFigurenotes
canbehighlybeneficialforpeoplewithSEN.Especiallyforpeoplewith
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somedevelopmentalorcognitivedisability(orboth),Figurenotescanbe
thesolutiontoparticipatealsoinagoal-orientedmusiceducation.
AtthismomentFigurenotesareusedininstrumenttuition,early
childhoodmusiceducation,musicteachingatschoolsaswellasin
specialmusiceducation,rehabilitationandtherapy.
FigurenotesisamusicalnotationsystemoriginallydevisedbyMrKaarlo
Uusitaloandsince1998havebeendevelopedtogetherwithUusitalo
andMrMarkkuKaikkoneninresearchanddevelopmentprojectscarried
outatSpecialMusicCentreResonaari(Helsinki,Finland).FigureNotes
GlobalLtdisacompanyfoundedtodevelopandmarketFigurenotes.
ThecompanyhasallIP-andcopyrightsfortheFigureNotes.
MarkkuKaikkonen-MarkkuKaikkonenworksasadirectoratSpecial
MusicCentreResonaari.HereceivedhisMMus(musiceducatorand
therapist)atSibeliusAcademy(Helsinki,Finland)andaccomplished
AdvancedStudiesinDanceandMusicPedagogyatUniversity
Mozarteum’sOrffInstitute(Salzburg,Austria).Heisaco-author/editor
ofdozensmusiceducationbooksandarticles.Over50ofhissongsfor
instrumenttuitionandearlychildhoodmusiceducationhavebeen
published.Mr.Kaikkonenisaguestlecturerincontinuingeducation
programsinFinlandandabroad.HeisaboardmemberofFinnish
SocietyforMusicEducationandConcertCentreFinland.Heservesasa
chairinCommissiononSpecialMusicEducation&MusicTherapyof
InternationalSocietyforMusicEducationISME.
http://www.helsinkimissio.fi/resonaari
markku.kaikkonen@resonaari.fi
www.figurenotes.com
Figurenotes resources from Drake Music Scotland
Lauren Clay
LaurenClay–LaurenisDrakeMusicScotland’sFigurenotes
Officer,managinganddeliveringapopularandwide-rangingprogramme
oftrainingforteachersandmusicpractitioners.Shehasalsobeen
responsibleforthedevelopmentofawardwinningresources(BestSEN
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Resource,MusicTeacherAwardsforExcellence).Sinceshestartedher
rolein2012,DrakeMusicScotlandhasdevelopedacommittednetwork
ofFigurenotersacrosstheglobeandshelovesnothingmorethan
hearingabouthowthiswonderfulnotationhashelpedpeopletoplay
music.
Laurenisalsobusyasafreelanceviolinistandteacher;thispractical
experienceensuresshehasvaluableinsightintowhatteachersand
musiciansneedintheirwork.Sheispassionateaboutmusicandstrongly
believesthatnothingshouldactasabarriertomusicmaking.
www.figurenotes.org
Figurenotes@drakemusicscotland.org
12.30pm–1.00pm–Paper1
The Role of Music to Facilitate Transition for Older Students: UI REACH Program at The University of Iowa
Mary S. Adamek, PhD, MT-BC, Clinical Professor, Music
Therapy, The University of Iowa, Iowa City, IA USA
BackgroundMore6millionstudentsreceivespecialeducationservicesinUSschools.
Approximately50%ofthesestudentsarebetweentheagesof12and
21,andover50,000individualswithautismtransitionfromschoolto
adulthoodeveryyear.Overthepastdecademusiceducatorshavehad
anincreasingroleintheeducationofstudentswithdisabilitiesandthey
regularlyteachstudentswithvariousdisabilitiesininclusiveandnon-
inclusivemusicsettings.Whilemanymiddleandhighschoolprograms
offermusicclassesforstudentswithdisabilities,therearefewprograms
forcollege-agedstudentswithdisabilities.Focusofpresentation
Thispresentationwillfocusonthe‘MusicExperiences’classatThe
UniversityofIowaREACHprogram.UIREACHisanon-campusprogram
forcollege-agedstudentswhohaveintellectualdisabilitiesandautism.
UIREACHpreparesstudentstotransitiontopost-secondaryeducationor
employment.Programgoalsincludedevelopingvocationalskills,
communityandleisureskills,self-determinationandindependence
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skills,andacademicsandlife-longlearning.‘MusicExperiences’isa
curricularofferingintheprogramthatusesmusiclearningtobuildskills
relatedtotheseUIREACHprogramgoals.
ApproachThisclassusesactivemusicmakingthroughsingingandinstrument
playing,musiclearningthroughbasicmusicliteracyskills,andcreative
expressionthroughsongwriting,improvisationandmovement.Music
canbehighlyengagingtothestudentsandthroughparticipationinthis
classtheypracticeskillsnecessaryfortransition,engagementwith
others,andimprovedqualityoflife.ElementssuchasAutonomy,
MasteryandPurposearelinkedtotheprogramgoalstoensurethatthe
engagedmusicinterventionsdirectlymeettheneedsoftheseolder
students.Inclusivemusicopportunitiesonthecollegecampuswillalso
bediscussed.
Summary
MusicExperienceisacurricularofferingintheUIREACHprogramatThe
UniversityofIowa.Goalsofthisclassarecongruentwiththegoalsofthe
UIREACHprogram,andthesegoalsarefocusedonhelpingthestudents
developandpracticeskillsthatwillhelpthemtransitiontoadulthood.
ConclusionsandimplicationsManymusiceducatorshavenothadextensivetrainingtoworkwith
studentswithdisabilities,andolderstudentscanbechallengingdueto
thedisparitybetweentheirageandabilities.Musicinterventionsmust
bechosencarefullytomeettheuniquelearningneedsoftheseolder
students. MaryAdamek-MaryAdamek,Ph.D.,MT-BC,isaClinicalProfessorof
MusicTherapyatTheUniversityofIowa.Sheco-authoredthetextbook,
MusicinSpecialEducation,publishedbytheAmericanMusicTherapy
Association(AMTA)andshehascontributedchaptersinseveralmusic
therapy,musiceducation,andspecialeducationbooks.Shemaintains
anactiveleadershiproleinstate,regionalandnationalmusictherapy
organizationsandisapast-presidentofAMTA.
Dr.Adamekhasextensiveprofessionalexperienceasamusictherapist
andmusiceducator.Sheisaspecialistintheareasofmusicinspecial
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education,fullinclusionmusiceducation,andsupervisionofmusic
therapystudentsintraining.Sheisarecipientofthe2015American
MusicTherapyAssociationLifetimeAchievementAward,the2013
UniversityofIowaCollegeofLiberalArtsandSciencesOutstanding
OutreachandCommunityEngagementAward,andthe2011American
MusicTherapyAssociationAwardofMerit.
mary-adamek@uiowa.edu
1.00pm–1.30pm–Paper2
Figurenotes, Facilitating Musical Engagement: a Perspective from Australia
Matthew Breaden, Researcher, Western Sydney University,
Australia
Inordertofacilitateactivemusic-makingbyindividualswithspecial
needs,effectivewaysareneededofenablingalong-termandsustained
engagementwithmusic.Thispaperwillpresentsomecurrentaspectsof
acontinuingresearchprojectundertakeninAustraliatoinvestigatethe
effectivenessandapplicabilityofasimplifiedvisualnotationsystem,
Figurenotes,asatooltofacilitateandmaintainmusicalengagement.
FigurenoteswasdevelopedinFinlandinthemid-1990s,andnowusedin
severalcountriesinbothmusictherapyandeducationsettings.Itis
designedtoenablepeoplewhowouldotherwisenotbeabletodeal
withtheabstractnatureofconventionalnotation,toreadmusic,playan
instrumentatabasiclevel,andthustoparticipateinmeaningful
musickingexperiences-bothindependentlyandingroupsettings.This
paperwillelucidatesomeelementsoftheresearchprojectthrough
presentationofcasestudiesofworkwithindividualswithintellectual
disabilitiesinsessionsoverthecourseofseveralmonths,using
Figurenotes,andwillreflectontheeffectoftheworkinfacilitatingthe
developmentofsocialengagementandself-concept.Ethicalissuesin
thepresentationwillbeaddressedthroughobtainingofrelevant
permissions,andfromde-identifyingthematerialsused.The
presentationwillexamine,throughthecasestudies,howusing
Figurenotescanfacilitatesocialinteractionthroughsharedmusical
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experiences,andwillalsoreflectonthedevelopmentofself-concept
andself-efficacythroughtheclients’playingforthemselvesandfor
significantothers.Animportantaspectoftheworkisthatitenablesthe
clientstocontinuetoplaymusicathomebetweensessions,thus
enablingadeepeningrelationshipwithmusicandformusictobecome
partofeverydaylife.Inaddressingtheseminarthemeof“Imaginethe
Future:EveryonePlaysMusic”,thepresentationofthesecasestudies
aimstoprovideasmallbutsignificantsnapshot,fromanAustralian
perspective,ofonepracticalwaytoachievethisinpractice.
MatthewBreaden-MatthewisaqualifiedteacherandRegistered
MusicTherapistfromAustralia.Heiscurrentlyundertakingaresearch
projectbasedatWesternSydneyUniversity,workingwithchildrenwith
autismspectrumdisorder(ASD)fromacrossSydneytodeveloptheir
musicskills,andinvestigatingassociatedchangestoself-conceptand
socialinteraction.Hisprojectiscurrentlyfocussedontheuseand
applicationsofFigurenotesnotationsystem.
m.breaden@westernsydney.edu.au
LUNCH 1.30pm – 2.30pm
2.30pm–3.00pm–Paper3
Hearing colors- The perception of music emotion and the association with colors
Ching-Chieh Chen and Dr. Wang, Wei-Chun
Synesthesiaisacombinationandcoordinationofperceptionwhichisa
simultaneousresponsetoastimulusinmorethanonesensorymode,
suchashearingcolorsorseeingsounds.Previousstudieshaveshown
thatmusicandcolorcanindependentlycarryemotionalvalenceand
sharetheemotionsthattheyevoke.Someliteraturehasdiscussedthe
relationshipamongmusicelements,colorsandemotions.However,the
musicalelementsthosestudiesexploringweretempoandmode,rarely
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otherelements,suchasinstrumentation,harmony,etc.Therefore,the
purposeofthisstudywastoexaminetherelationshipamongmusic,
colorsandemotions,especiallyfocusonthespecificmusicalelements,
tempo,mode,andinstrumentation.
48collegestudentswereparticipatedinthisstudy.Theywereaskedto
correspondthe37colorsinBerkeleycolorProjectwhenlisteningto16
classicalmusicexcerptschosenundertheconsiderationofthethree
musicalelements,andcompletethe"matchingquestionnaire".
Theresultsshowedthattherewerestrongrelationshipbetweentempo
andhue,tonalityandlightness,instrumentationandsaturation,andthe
matchedelementssharedthesimilaremotionstheyevoked.Therewas
astrongsignificantdifferencebetweenthemeansoffasttempoand
slowtempoonpassionate-indifferentrating(Mfast-passionate=4.08,
Mslow-passionate=2.45).Subjectsfeltpassionatewhentheylistenedto
themusicwithfasttempo,andassociatedwithwarmcolors.Conversely,
theyfeltindifferentwhenlisteningtothemusicwithslowtempo,and
associatedwithcoldcolors.Therewasastrongsignificantdifference
betweenthemeansofmajorandminormodeonbright-darkrating
(Mmajor-bright=3.88,Mminor-bright=2.58).Subjectswereevoked
brightfeelingbythemusicwithmajormode,andassociatedwithhigh
valuecolors,whiletheywereevokeddarkemotionbythemusicwith
minormode,andassociatedwiththelowvalueandsaturationcolors.
Therewasalsoasignificantdifferenceinmajestic-delicaterating
betweenlargeandsmallinstrumentation(Mlarge-majestic=3.96,
Msmall-majestic=2.46).Subjectsfeltmajesticforthemusicwithlarge
instrumentation,andassociatedwiththedeep,highsaturationcolors.
Theyfelt
delicateforthemusicwithsmallinstrumentation,andassociatingwith
thebeige,lowsaturationcolors.
Thefindingsareexpectedtoofferreferencestomusiceducatorsin
designingthecross-artcurriculumtoinspirestudents'multi-sensory
perception,andtoartistsincomposingcross-disciplinaryartworksas
well.
Keywords:MusicalEmotion,MusicPerception,ColorAssociation,
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ClassicalMusic
Chen,Ching-Chieh-AppliedScienceandTechnologyNationalTaiwanUniversityofScienceandTechnology
d10122308@mail.ntust.edu.tw
Dr.Wang,Wei-Chun-AssociateProfessor,DepartmentofHumanities
andSocialSciencesNationalTaiwanUniversityofScienceand
Technology
vgnwang@hotmail.com
3.00pm–3.30pm–Paper35
Applications of meditation and singing for Parkinson's disease: A pilot study
Wang, Wei-Chun, Associate Professor and Chair/ Department of Humanities and Social Science, National Taiwan University
of Science and Technology
Chen, Ching-Chieh, Doctoral Candidate/ Graduate Institute of Applied Science and Technology, National Taiwan University
of Science and Technology
Parkinson’sdiseaseisadegenerativecentralnervoussystemdisorder,
andit’smostcommonmanifestationsaremotorandcoordination
dysfunction.Autonomicneuropathymayalsocausealotofdiscomfort
tothepatient,suchassweating,posturalhypotension,palpitationsand
soon.Inaddition,patientswithParkinson'sdiseasearealsoproneto
chronicpainanddepression,anxiety,insomniaandotheremotional
disorders,resultinginpoorqualityoflife.However,relationship
betweenautonomicneuropathyandpainormooddisordersstillneed
furtherclarified.Meditationtherapystemsfromtheancientphilosophy
andregimen.Itsmethodssuchasbreathing,meditation,relaxation,
Manthra,areaimtopromotephysicalandmentalhealth.Through
modernscienceconfirmsthatmeditationcanimprovepain,reduce
anxiety,improveinsomnia,andchangessympathetic/parasympathetic
effects.Musictherapywithgroupsingingarederivedfromtheancient
art,whichcouldinducebrainplasticity,facilitaterespiration,phonation,
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articulation,resonance,andstrengthentherespiratorysystem.
Rhythmicmusiccanpromotepleasure,stimulatethinking,movement
andcoordination.
Thisstudywasaimedtoinvestigatetheeffectofmeditationandsinging
onimprovingfunctionofautonomicneuropathyandqualityoflifefor
patientswithParkinson’sdisease.FivepatientswithParkinson’sdisease
wererecruitedandrandomlydividedintotwogroups-singinggroupand
meditationgrouptoparticipateinthestudy.However,onlyone
participantofeachgroupcompleted6-weekclasses,60minutesper
week.TheParkinson'sDiseaseQualityofLifeQuestionnaire,ANSWatch,
andspirometrywereusedtoassessthequalityoflife,functionof
autonomicneuropathy,andlungfunctionbeforeandafterthe6-week
experiment.
Resultsofthisstudyshowedthatbothmeditationandgroupsingingdid
reducepain,diminishmooddisorders,andimprovequalityoflifein
patientswithParkinson’sdisease.Meditationwasbeneficialto
autonomicneuropathy(LFpretest=6,LFposttest=23;HFpretest=15,
HFposttest=29).
BothMeditationandgroupsingingenhancedthelungfunction.
Comparingthepre-andpost-test,FVCscoresofMeditationshowan
increasingfrom0.60to0.63,andFVCofgroupsingingalsoincreased
from0.41to0.45.FEV1scoresofMeditationshowanincreasingfrom
0.26to0.55,andgroupsingingalsoincreasedfrom0.36to0.37.PEF
scoresofMeditationshowasignificantincreasingfrom0.32to0.71,and
groupsingingalsoincreasedfrom0.48to0.56.Thefindingsare
expectedtoofferreferencestopatientswithParkinson’sdiseaseand
theirfamily,rehabilitationspecialist,andmusictherapists.
Keywords:Parkinson’sdisease,Autonomicneuropathy,Meditation,
Groupsinging,qualityoflife
Wei-ChunWang-Dr.Wei-ChunWangistheChairandAssociate
ProfessorofDepartmentofHumanitiesandSocialSciences,National
TaiwanUniversityofScienceandTechnology.ShereceivedtheD.M.A.in
musiceducationandchoralconductingfromUniversityofOregon,U.S.
A.(2007),theMasterofmusicinconducting(1996),andaBachelorof
MusicfromNationalTaiwanNormalUniversity(1991).
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Dr.WangteachescoursesinMusicPerception,MusicTherapy,Musical
Theater,Conducting,andChoralEnsemble.Besidesasamusiceducator,
sheisanoutstandingchoralconductor.Shehassuccessfullyconducted
MozartRequiemandBachCantataBWV105&147withFestival
OrchestraandChoirin2004OregonBachFestival.Sheisthedirectorof
BellaVoceChoirandYunZhongChoir,andtheadvisorofVoxNativa
Children’sChoir,whichwasinvitedtoperforminAPSMER2011.She
currentlyservesasDirectorofAssociationofMusicEducationR.O.C.,
andExecutiveDirectorofTaiwanKodalySociety.
Ching-ChiehChen-Chen,Ching-ChiehistheDoctoralCandidateofGraduateInstituteofAppliedScienceandTechnology,NationalTaiwan
UniversityofScienceandTechnology.ShereceivedtheMasterofMusic
inpianoperformancefromUniversityofTaipei(2010),andaBachelorof
MusicfromUniversityofTaipei(2006).
Chenteachescoursesindigitalmusic,andexpertiseinmusiceducation,
musictherapyandpianoperformance.
vgnwang@hotmail.com
3.30pm–4.00pm–Paper5
A Study of Creative Dance Activities on Dementia Family Caregivers
Chiang, Kuang-Tsu and Wang, Wei-Chun
SinceTaiwanesesocietyisquicklyaging,thepopulationofdementia
seniorsalsoincreases.Thereforethelong-termcareandmedical
treatmentofthedementiahasalreadybecomeamajorissuefor
Taiwanesesociety.Duetotheheavyburdenofthelong-termcareabout
dementia,thefamilycaregiversofdementiabecomeinvolvedinthe
psychologicalmorbidity,physicalill,socialisolation,andevenfinancial
hardship.
Thisactionresearchwasdesignedtoexploretheeffectsofcreative
danceactivitiesondementiafamilycaregivers’physicaland
psychologicalhealth.Fivedementiafamilycaregiverswererecruitedas
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subjectsinthisstudy.Bymeansofinterviews,interventionsteaching
program,observationsandactionlogs,datawerecollectedforanalysis.
Thefivemovementelements:Body,Space,Time,EffortandRelationship
intheLabanMovementAnalysis(LMA)wereusedasthebasisfor
designingthecreativedanceprograminthisstudy.Age,genderand
experienceinbodilydevelopmentofsubjectswerealsothecore
considerations.Additionally,correspondingmovementexplorations
weredesignedtoechowiththedifferentmusicalelementsemployedin
theprogram.Inneremotionsandfeelingswerealsoexploredtohelpthe
participantstobuildtheirself-awarenessandself-expression.
Theresearcherreachedthefollowingconclusions,focusingonthetwo
mainscopesasstatedbelow:
Theteachingstrategiesofthecreativedancefordementiafamilycaregivers:
1.Equippedwithcapabilitiesandflexibilitiesindealingwith
contingencies.
2.Provisionofstimulationandfeedbacktoparticipantsaftersubtle
observations.
3.Repetitivenesstoreinforcethelearningexperienceandimpressions.
4.Theconnectionbetweenmusicandmovementstoenrichthe
connotationsinmovements.
5.Welluseofthescenariosandlanguagetohelptheguidanceof
imagery.
6.Abilitytosummarizeandintegratethesharinganddiscussionamong
participants.
Thebenefitsofcreativedancecoursetodementiacaregivers:1.Thecreativedancecoursewereacceptablebycaregivers;
2.Thebenefitsofcreativedancecoursefordementiacaregiverswereto
alleviatetheparticipants‘mentalstress,increasephysicalsuppleness,
improvesleepingquality,andattaintocarequalityimprovementand
consistency.
Chiang,Kuang-Tsu-Chiang,Kuang-TsuisthedoctoralstudentofGraduateInstituteofAppliedScienceandTechnology,NationalTaiwan
UniversityofScienceandTechnology.Shefinishedamusiceducation
masterdegreeandjustobtainedthemasterdegreeindanceeducation
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fromTaipeiNationalUniversityoftheArtsin2015.Shehasworkedon
Orff-Schulwerkfor16years.
Since2013,shehadbeenteachinginsupportivegroupforfamiliesof
dementiawiththecreativedancetohelpthedementiaoffamily
caregiverstoreleasetheirmentalpressure,emotionandretainthe
positivephysicalstrength.Ms.Chiangfindsthatcreativedanceis
applicabletoallages.Thereforeshestartedtoapplycreativedance
teachingtoeldersandthefamilycaregivers,andsheexpectstohelp
differentgroupswithherdancecoursedesigntoreachphysical-
psychologicalhealthneededpeople.
Chiang,Kuang-Tsu,GraduateInstituteofAppliedScienceand
Technology,
NationalTaiwanUniversityofScienceandTechnology
Kuangts1108@gmail.com
Wang,Wei-Chun-Dr.Wei-ChunWangistheChairandAssociate
ProfessorofDepartmentofHumanitiesandSocialSciences,National
TaiwanUniversityofScienceandTechnology.ShereceivedtheD.M.A.in
musiceducationandchoralconductingfromUniversityofOregon,U.S.
A.(2007),theMasterofmusicinconducting(1996),andaBachelorof
MusicfromNationalTaiwanNormalUniversity(1991).
Dr.WangteachescoursesinMusicPerception,MusicTherapy,Musical
Theater,Conducting,andChoralEnsemble.Besidesasamusiceducator,
sheisanoutstandingchoralconductor.Shehassuccessfullyconducted
MozartRequiemandBachCantataBWV105&147withFestival
OrchestraandChoirin2004OregonBachFestival.Sheisthedirectorof
BellaVoceChoirandYunZhongChoir,andtheadvisorofVoxNativa
Children’sChoir,whichwasinvitedtoperforminAPSMER2011.She
currentlyservesasDirectorofAssociationofMusicEducationR.O.C.,
andExecutiveDirectorofTaiwanKodalySociety.
Wang,Wei-Chun,Chair,DepartmentofHumanitiesandSocialSciences,
NationalTaiwanUniversityofScienceandTechnology
vgnwang@mail.ntust.edu.tw
DAY ONE Wednesday 20th July 2016
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4.00pm–4.30pm–Paper6
Music Therapists’ Use of Music to Facilitate Reading Development in Children
Cynthia M Cross, MM, NMT, MT-BC
ThispaperwaspresentedforcompletionoftheMaster’sofMusic
degree.ItisamodifiedNaturalisticInquirystudyexaminingtheuseof
musicandmusicelementsbymusictherapistsinconjunctionwith
readingdevelopment.ThethesisusestheRationalScientificMediating
Model(RSMM)asaframeworktoreviewtheliteratureandestablish
researchquestions.Thismodelconsidersmusicalbehavior,non-musical
behavior,therelationbetweenmusicandfunctionalbehavior,and
clinicalresearchrelatedtothetopic.
Thefocusofthestudywastoexploremusictherapists’useofmusical
elementstoimpactreadingdevelopmentandtoidentifycommon
languageandprotocolformusicandreadinginterventions.Inadditionit
washopedtoestablishabasisforfurtherstudyoftheuseofmusicto
assistreadingdevelopmentinschool-agedchildren.
ElevenBoard-CertifiedMusicTherapistswereinterviewedproviding
informationregardingmusictherapyinterventions,readingskills
targeted,theoreticalinfluences,andprofessionalinfluences.Transcripts
ofinterviewswereanalyzedtodeterminethemes,commonuseof
languagerelatedtothesubject,commonperceptions,andtechniques
andusesformusictoimpactreadingdevelopment.
Ingeneralsubjectsdidnotreportspecificallyusingmusicelementsto
targetreadingbehavior.Rather,mostsubjectsidentifiedreading
objectivesdeterminedbyclassroom
teachersanddevelopedmusicinterventionstoaccommodatethose
objectives.Subjectsmorereadilydiscussedmusicinterventionsas
activitiesusedbutdidnotseektoutilizespecificmusicalelementsto
impactspecificreadingachievements.Musictherapywasmostoften
describedasasupportiveservicetoreinforceclassroomand/orIEP
goals.Evaluationofmusic’seffectivenessinassistingstudentstoachieve
goalswasprimarilyobservationalinnature,bytherapistsandeducators
alike.
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Theresultsofthisstudy,inadditiontopreviousresearch,indicatesome
potentialformusictobeusedasatooltoassiststudentsintheareasof
readingandgeneralacademicdevelopment.Futurequalitativeresearch
couldbeanimportantmethodtogainamorein-depthlookattheuseof
musicforreadingandotheracademicskills.Furtherliteraturereview
regardingthetopicshouldincludeanexaminationofthecognitiveand
physiologicalrequirementsforreadingdevelopment.
CindyCross-CindyCrossisaBoardCertifiedMusicTherapistfrom
Vicksburg,Michigan,USA.Shereceivedherundergraduateandgraduate
degreesfromWesternMichiganUniversityin1990and2014
respectively.ShewascertifiedasaNeurologicMusicTherapistin2015
andalsoprovidesservicestoclientswithTraumaticBrainInjurythrough
RehabwithoutWalls.Currently,CindyworksfortheAlleganArea
EducationalAssociationasamusictherapistforstudentswithcognitive
impairmentsages3-26.ShealsoownsandoperatesSouthwestMichigan
MusicTherapy,LLC;aprivatepracticeprovidingMusicTherapy,Early
Childhoodmusicgroups,andprivatelessons.
www.swmmusictherapy.com
cynthia.c.cross@wmich.edu
COFFEE BREAK 4.30pm – 5.00pm
5.00pm–5.30pm–Paper7
Collaborating with Special Educators
Mara E. Culp
BackgroundCollaboratingwithSpecialEducators
Studentswithspecialneedshavebeenmoreprevalentininclusive
classroomsettingssincethepassageoftheIndividualswithDisabilities
EducationActin1975.Yet,studentswithspecialneedscouldbedenied
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accesstoamusiceducationduetotheteacher’slackofknowledge
regardinghowtobestaccommodatethesestudents.Suchdeficitsinthe
educationalopportunitiesforstudentswithspecialneedsmaybedueto
alackofteacherpreparationduringundergraduatestudiesand/or
limitedaccesstostudents’individualizededucationplans(IEPs)as
practicingeducators.
AimsThispresentationwillhelpmusicteachersunderstandhowtoeffectively
collaboratewithmembersofastudent’sIEPteaminordertoimprove
instructionandeducationalopportunitiesforstudentswithspecial
needs.
MethodStrategiestofosterinter-disciplinarycollaborativerelationshipswillbe
suggested,drawnfromrelevantresearch,literature,andthepresenter’s
personalexperiencescollaboratingwithspecialeducationprofessionals.
Techniquesforworkingwithstudentswithspecialneeds,whichinclude
usingassistiveandsupportivetechnologies,color-coding,icons,other
visualaides,echoing,writtenwords,andpeermentoringwillalsobe
provided.
SummaryofMainIdeas
AstudentidentifiedwithaspecialneedreceivesanIEPthatoutlines
currentlevelsofachievementandanynecessaryaccommodations
and/ormodificationstothestudent’scurriculum.TheIEPisdevisedby
theIEPteam,whichincludesclassroomteachers,parents,andspecial
educators.MembersoftheIEPteamcanbevaluableresourcesbecause
theyareequippedwithin-depthknowledgeofstudents’strengths,
limitations,andaccommodationsthathaveprovensuccessfulin
inclusiveenvironments.
ImplicationsforMusicEducationCollaboratingwithspecialeducatorsandothermembersofastudent’s
IEPteamcanhelpimproveinstructionbyprovidingspecializedinsights
andknowledgetohelpthemusiceducatormorefullyassiststudents.
Althoughresourcesexisttoaidcollaborationbetweenclassroom
teachersandspecialeducators,relativelylittlehasbeendonetoaid
DAY ONE Wednesday 20th July 2016
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collaborationbetweenmusiceducatorsandspecialeducators.Every
studentdeservesaccesstoamusiceducationandcollaboratingwith
specialeducatorscanhelpmusicteachersproduceafuturewherein
everyonehasequalaccesstoamusiceducation.
KeywordsSpecialeducation,inter-disciplinarycollaboration,accommodation,
modification,individualizededucationplan
MaraE.Culp-MaraE.CulpwilljointhefacultyofIthacaCollegein
Ithaca,NewYork,USAasavisitingassistantprofessorofgeneralmusic
educationforthe2016-2017schoolyear.SheearnedaBachelor’sof
MusicEducationfromSienaHeightsUniversityinAdrian,Michigan,USA
andaMaster’sDegreeinMusicEducationfromThePennsylvaniaState
UniversityinUniversityPark,Pennsylvania,USA.ShehastaughtK-12
general,choralandinstrumentalmusic.
AsaPh.D.candidateinmusiceducationatThePennsylvaniaState
University,herresearchinterestsincludeimprovingspeechusingmusic,
musiceducationforstudentswithspecialneeds,collaboratingwith
specialeducationprofessionals,andelementarygeneralmusic
education.ShehaspresentedherworkacrosstheUnitedStatesatstate,
national,andinternationalconferences;presentedasaninvitedspeaker
inCommunicationSciencesandDisordersdepartments;andhas
publishedworkintheOrffEcho,GeneralMusicToday,andChoral
Journal.
www.MaraCulp.com
MaraCulp@gmail.com
5.30pm–6.00pm–BookLaunch
Exceptional Pedagogy for Children with Exceptionalities: International Perspectives
Deborah VanderLinde and Kim McCord
DAY ONE Wednesday 20th July 2016
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EditorsDeborahVanderLindeandKimMcCordleadthissession.
Internationalleadersinourfieldandfromthiscommissionwillprovide
anoverviewoftheresearchandpracticesdescribedinthistext.Weall
lookforwardtoextendedconversationsregardingtheseandallideas
regardingmusicforall.
DeborahVanderLindeBlair,MarkkuKaikkonen,AliceM.Hammel,Shirley
Salmon,LizaLee,AliceAnnDarrow&MaryAdamek,ChristineLapka,Lyn
Schraer-Joiner,ElaineBernstorf,KimberlyVanWeelden,KimberlyA.
McCord.
6.00pm–7.30pm–WineReceptionandCanapésintheKirklandSuite
ReceptiongenerouslyprovidedbyOaklandUniversity,IllinoisState
UniversityandTurcanConnell.
7.30pm–9.00pm–OpeningConcertfromHostsDrakeMusicScotland
DAY ONE Wednesday 20th July 2016
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END OF DAY ONE
#ISMESpecialEdMT 39
DAY TWO Thursday 21st July 2016
#ISMESpecialEdMT 40
DAYTWO–Thursday21stJuly20168.00am–8.30am Paper8-TheEffectofPeerModelingontheRateof
AppropriateBehaviorsExhibitedbyStudentswith
DisabilitiesinMultiple-AgeSettings-LauraMeehan,
ChristyTodd,Alice-AnnDarrow
8.30am–9.00am Paper9-SpecialMusicEducationandMusicTherapy
CollideswithScience-HelenJFarrell
9.00am–9.30am Paper10-Everyoneiswelcometoplay!BringingSpecial
MusicEducationintoScuolaMusicaleGiudicarie:
challenges,resourcesandresultsforalongtermexperience
ofjoyfullymakingmusic-GabriellaFerrari
9.30am–10.00am Paper11-TheImpactofaServiceLearningCollaborative
PerformanceProjectonChoralStudents’AttitudesToward
IndividualswithDisabilities-RhondaViethFuelberth
10.00am–10.30am Paper12-NewVoices:MTServicesforCulturallyand
LinguisticallyDiverseStudentswithMultipleDisabilities-
AmeliaGreenwaldFurman
10.30am–11.00am CoffeeBreak
11.00am–11.30am Paper13-DisabilityPorn:AQualitativeAnalysisof
CommentsonMusicandPersonswithDisabilitiesFoundon
InternationalYouTubePosts-MichelleHairston,Alice-Ann
Darrow
11.30am–12.00pm Paper14-ExperiencesandPerceivedOutcomesinTeaching
ExecutiveFunctioningtoElementarySchoolChildren
ThroughMusic,Visual,andPerformingArtsIntegration-Dr.
BethanieL.Hansen
12.00pm–12.30pm Paper15-Many-SidedMusicEducationApproachesfor
DiverseLearners-MarkkuKaikkonen
12.30pm–1.30pm PosterSessions
1.30pm–2.30pm LUNCH
2.30pm–3.00pm Paper16-AQualitativeAnalysisofEvaluativeComments
MadebyOlderandYoungerParticipantsinMultiple
IntergenerationalMusicPrograms:Implicationsforthe
GlobalAgeingPerspective-MelitaBelgrave,Alice-Ann
Darrow
3.00pm–3.30pm Paper17-TheimpactofFigurenotessystemformusic
educationalequityinFinland-SannaKivijärvi
3.30pm–4.00pm Paper18-ACaseStudyofUsingHolisticMusicEducational
ApproachonDevelopingYoungChildrenwithMultiple
DisabilitiesCommunicationSkillsandPhysicalMovement-
LizaLee
4.00pm–4.30pm Paper20-LearningDisabilitiesandMusic–KimMcCord
4.30pm–5.00pm CoffeeBreak
5.00pm–5.30pm Paper21-musicALL-AnInclusiveMusicProjectat
HazelwoodSchool-aschoolforyoungpeopleaged2-18
#ISMESpecialEdMT 41
yearswithSensoryImpairmentandAdditionalComplex
LearningNeeds.-JulieMcKenzie
5.30pm–6.00pm Paper22-TheRiseofDisabilityasIdentityandCulture:
ImplicationsforMusicEducatorsandResearchers-Sierra
Norris
6.00pm–7.00pm RoundTable-Interdisciplinarydialoguesinmusic,health
andwellbeing-GiorgosTsiris(Chair),Dr.Philippa
Derrington,PeteSparkes,Dr.NetaSpiro,Dr.Graeme
Wilson
7.00pm–8.00pm FREETIME/TRAVELTOCEILIDH
8.00pm–11.00pm CeilidhBytheBeach
EndofDayTwo
RoomsareindicatedintheLefthandcolumn.
SouthHallandKirklandSuite
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8.00am–8.30am–Paper8
The Effect of Peer Modeling on the Rate of Appropriate Behaviors Exhibited by Students with Disabilities in Multiple-
Age Settings
Laura Meehan, Music Teacher, Caminiti Exceptional Center (Tampa, FL)
Christy Todd, Director of Choral Activities, Rising Starr Middle
School (Fayetteville, GA)
Alice-Ann Darrow, Professor, Florida State University (Tallahassee, FL)
PurposesTheprimarypurposeofthisstudywastoexaminetheeffectofpeer
modelingontherateofappropriatebehaviorsexhibitedbystudents
withdisabilitiesintwomusicprograms.Morespecifically,purposesof
thestudyweretoexaminetheeffectofpeermodelingon:(1)the
musicalandsocialbehaviorsofstudentswithdisabilitiesatprimaryand
secondarygradelevels;and(2)teachers’timespentplanningand
preparingtoimplementtheintervention.
BackgroundPreviousresearchershaveinvestigatedtheeffectpeershaveonthe
socialandacademiclearningofstudentswithdisabilities,andasaresult
oftheirfindings,Peer-MediatedInstructionandIntervention(PMII)is
consideredevidence-basedpracticeforstudentswithdisabilities.Music
educatorshaveexplicitlyexpressedaneedforinterventionsthatresult
inoutcomessuchas:musicalprogressmadebyallstudents,and
improvedsocialinteractionsamongstudents.Furthermore,music
educatorshaveexpressedaneedforinterventionsthatrequirefewer
demandsontheirtime.Peermodelingisanevidenced-basedpractice;
however,thereisaneedtoexamineitseffectonstudentbehaviorsin
primaryandsecondarymusiceducationsettings,aswellasitseffecton
studentswithseveredisabilities.
MethodThestructureofthepeermodelinginterventionwasbasedonthose
usedintwopreviousstudies.Thestudywascarriedoutinmultiple
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classroomsintwosettings,andassessedtherateofcorrect
responsesmadebystudentswithdisabilitiesonsocialandmusical
tasksafterobservingpeersperformthetaskscorrectly.Amultiple
baselinedesignwasusedtodeterminetheeffectofpeermodelingon
students’performanceonthenovelsocialandmusicaltasks.Inaddition,
themusiceducatorswereaskedtorecordtimespentplanningand
preparingfortheintervention.
ResultsWhencomparedtobaselinedata,therateofcorrectsocialandmusical
responsesbystudentswithdisabilitiesincreasedsignificantlyduringthe
interventionperiods;however,studentsinthesecondarysettingmade
moresignificantgainsthandidstudentsintheprimarysetting.These
datasuggestthatagemaybeafactorwhenassessingtheeffectiveness
ofobservationallearning.Additionally,teachersatbothgradelevels
foundpeermodelingtobeatime-efficientintervention.
Implications/ConclusionsPeermodelingisatimeefficientandeffectiveinterventiontopromote
thesocialandmusicallearningofstudentswithseveredisabilitiesin
multi-agesettings.Olderstudentsareeithermoreawareoftheirpeers’
behaviors,oraremoreinfluencedbythemthanyoungerstudents.
LauraMeehan-LauraMeehanholdsabachelor’sdegreeinmusic
educationfromTexasTechUniversityandamaster’sdegreeinmusic
therapyfromFloridaStateUniversity.Sheisaboardcertifiedmusic
therapist,andacertifiedteacherintheareasofmusicandspecial
education.Herresearchinmusicforspeciallearnershasbeenpublished
andpresentedatthestate,national,andinternationallevels.
ChristyTodd-ChristyToddistheDirectorofChoralActivitiesatRisingStarrMiddleSchoolinFayetteville,GA,wheresheteaches
approximately300studentsinsixnon-auditionedchoirs.Inadditionto
traditionalchoralmusic,herclassroominitiativesincludeacareerbased
rockprogramwithcommunitymentors,andaspecialmusiceducation
collaborationthatengagesstudentswithspecialneedsatthemiddle
andhighschoollevel.Sheisindemandasanhonorchoirclinicianand
presenteratstateandnationalconferences,speakingontopicsof
specialmusiceducation,programrecruitmentstrategies,andmusic
DAY TWO
Thursday 21st July 2016
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classroomtechnologyintegration.In2016shewasnamedtheGeorgia
MiddleSchoolAssociation’sTeacheroftheYear,andwasalsoselected
asanationalsemi-finalistforthe2013GrammyMusicTeacherofthe
YearAward.SheholdsdegreesinmusiceducationfromFloridaState
UniversityandShorterCollege.
Alice-AnnDarrow-Alice-AnnDarrowisIrvinCooperProfessorofMusic
intheCollegeofMusicatFloridaStateUniversity.BeforecomingtoFSU
in2003,shetaughtatTheUniversityofKansasfor20yearswhereshe
heldcourtesyappointmentsintheDepartmentsofSpeechandHearing
andSpecialEducation,andworkedwithstudentsattheKansasSchool
fortheDeafinOlathe,KS.Herareasofresearchandclinical
specializationincludenonverbalcommunicationintheclassroom,and
integratedgroupsinclinicalpractice.Sheisco-authorMusicinSpecial
Education,MusicTherapyandGeriatricPopulations,andeditorof
IntroductiontoApproachesinMusicTherapy.Shehasbeentherecipient
ofresearchandclinicalpracticeawardsfromtheAmericanMusic
TherapyAssociation,andateachingawardfromtheFloridaMusic
EducationAssociation.SheispastChairoftheCommissiononMusicand
SpecialEducationfortheInternationalSocietyforMusicEducation.
laura.m.meehan@gmail.com
todd.christy@mail.fcboe.org
aadarrow@fsu.edu
8.30am–9.00am–Paper9
Special Music Education and Music Therapy Collides with Science
Helen J Farrell, PhD (The University of Melbourne, Australia).
Theaccumulationofmanydecadesofextraordinaryhighlyregarded
interdisciplinaryevidencebasedknowledgeanddialoguewithinand
acrossinterdisciplinarycollaborationsinresearchandpractitioner
communitiesinbiology,neuroscience,geneticsandcognitiveand
developmentalsciencesareapparent.
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Educationandtherapycommunitiesatalllevelsappeartohave
benefittedfromanumberofhealthycollaborationsinrecentyears.Each
fieldbenefitsfromandinfluencesworkintheothers,including
questionsasked,phenomenaaddressedandmethodsemployed.The
interdisciplinarynatureoftheevidencebaseisrapidlydeveloping.
Researchcommunitiescontributetopracticalknowledgeforeducation
andtherapycommunities.Practitionercommunitiesineducationand
therapyhelptodefinepromisingresearchdirectionsandcontributeto
therefinementoftestablehypothesesforresearchthatemergeatthe
intersectionofmind,brain,andeducation.
Musiccollideswithscience.Theaccumulationofmanydecadesof
extraordinaryhighlyregardedinterdisciplinaryevidencebased
knowledgeanddialogueinthefieldsofmusicpsychologyandmusic
neuroscienceinformpotentiallyinnovativewaysforward.Thisevidence
baseexploresschemataofmusicallearninganddevelopmentwithinand
acrossthelifespanfromconceptionandinfancy,throughchildhoodand
adolescenceandintoadulthood.
Workwithchildrenandyoungpeoplewithcomplexspecialneedsis
multi-facetedandprofoundlychallenging.Categoriesofissuesimpacting
inspecialandinclusiveeducationsectorarenumerous.Musicseemsto
provideanoutletforexpressionandcommunicationforchildrenand
youngpeoplewithcomplexspecialneedsinanotherwisestrangeand
confusinguniverse.Indeed,somemaypossessextraordinarymusical
giftsandtalentsdespitesometimessevere,profoundandmultiple
limitationsinotherdomains.Otherinterdisciplinaryevidencebased
knowledgeanddialogueinformstheefficacyofspecialmusiceducation
andmusictherapy.
So,specialmusiceducationandmusictherapyalsocollideswithscience.
Thepaperdrawstogetherandreflectsonsomeoftheextraordinary
internationalresearchandpracticethathasemerged.
Atpresent,collaborationsbetweencommunitiesarestillintheirinfancy.
Fruitfulareasforcollaborationsarepossible.Usefulinformation,
researchdirectionsandpromisingpracticesinspecialmusiceducation
andmusictherapyarecreatedandidentified.Specialmusiceducation
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andmusictherapyresourcesforresearchers,practitioners,policy
makersandthepublicarecreatedanddeveloped.
Imaginethefuture:itisJuly2036.Twentyyearsfromnow.Everyone
playsmusic.Childrenandyoungpeoplewithcomplexspecialneeds
becomethemostextraordinarymusicalthinkersandthinkingmusicians
thattheycanbe.
HelenFarrell-Helenhashadthirtyyears+experiencethepubliceducationsystemintheStateofVictorialeadingmultidisciplinaryteams
inspecialmusiceducationwithchildrenandyoungpeoplewithcomplex
specialneeds.
Sheholdsahigherresearchdegreeinmusicpsychologyineducation
thatdescribedcognitive,social,emotionalandpersonalitydomains
involvedinmusicaldevelopmentandlearningacrossthelifespan.
Particularinterestisindifferentialmusicaldevelopmentandlearningin
thesechildrenandyoungpeople.
Howdogeneticandenvironmentalfactorsshapethemusicalbrainand
behaviour?Howdoesparticipationinmusicalexperiencesandactivity
interacttoinfluencebeneficialoutcomesacrossthelifespan?
Thepresentationexploresthecollisionofsciences,includingbiology;
neuroscience;genetics;cognitiveanddevelopmentalscience;
behaviouralneuroscience;neuropsychology;andexperimental
psychologywithspecialmusiceducationandmusictherapy.
helen.farrell@unimelb.edu.au
cmmw@unimelb.edu.au
9.00am–9.30am–Paper10Everyone is welcome to play! Bringing Special Music Education
into Scuola Musicale Giudicarie: challenges, resources and results for a long term experience of joyfully making music
Gabriella Ferrari, Music Teacher
DAY TWO Thursday 21st July 2016
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ScuolaMusicaleGiudicarieisamemberoftheNetworkofMusicSchools
ofProvinceofTrento,Italy,andliketheotherfourteenschools,itis
fundedbytheDepartmentofCultureasitsmainpurposeistoprovide
musiceducationforallandatanyage.
ThismeansthatevenpeoplewithSENshouldhaveaccesstolearning
andplaying,findingthebestpedagogicalbackgroundforasuccessful
experience.
Theprojectstartedin1998,withthefirstSENpupil.In2015,thenumber
ofstudentswithSENhasincreasedtothirty-nine,basedonatotal
amountoftwo-hundredstudents.
Inthistime,manyeffortshavebeenmadetodevelopSpecialMusic
Educationwithina'standard'MusicSchool,alreadyofficiallyprovidedby
theDepartmentofCultureCurriculum.
ThisResearchintroducestheprocessbywhichteachersandstudents
havedevelopedaninnovativemodelinItaly,payingattentionto
inclusivityandshowinganewwaytobeamusicschool.
Figurenotes©havebeenoneimportantkeytoaccessplayingandto
achievethe'musicforall'purpose.
Researchisbasedontheprocessrealizedbystudentswhoattended
musicschoolseveralyears,startingfromchildhood.
Itfocusesonthefactthattheimprovementofmusicskillsisassociated
withthedevelopmentofsocialabilitiesaswellasariseofmotivation.
Thisisnotedthankstosuccessfulparticipationsincollectiveactivities
suchasjoiningorchestra,popbands,dancegroupandchoirs.
ThisResearchalsoanalyzeshow,thankstoalongtermcommitment,
studentscanflourishinawayinwhichmusicbecomeaconstantactivity
inadulthood.
ResultsconfirmthatitispossibleforaMusicSchool,initiallyconceived
forpeoplewithoutSEN,todevelopcurriculainsuchawaythatpeople
withdisabilitymayimprovetheirlifemakingmusic,sharingtherichness
oftheirheartsinastimulatingenvironment.
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Researchreportsagainstthecostintermsofresourcesrequiredtoo,
andchallengesfacedinovercomingthebeliefthatpeoplewhoarenot
usingconventionalnotationarenotabletobecomegoodmusician.
Aswell,thepresenceofstudentswithSENcontributesindeveloping
socialabilitiesforstudentswithoutSEN.
FinallyitisconfirmedthatSpecialMusicEducationcantakeplace
togetherwithNonspecialMusicEducationandthatthepresenceof
studentswithandwithoutspecialneedsinthesameeducational
environmentisapreciousopportunityforeverybodyandforthesociety.
GabriellaFerrari-Bornin1966,obtainsthedegreeinclarinetattheConservatoryA.Bonporti(Trento)in1989.Interestedinthesocialvalue
ofmusicmaking,sheattendstheSchoolofMusicalAnimationatthe
MusicCentreDiBenedetto(Lecco),obtainingadegreeinSocio-Cultural
MusicEducation.
Since1997shehasbeenteachingattheMusicSchoolGiudicarie,where
in2002sheintroducedFigurenotes©,developingresearchand
applications.Here,sheteachesbothtostudentswithandwithout
disabilities:keyboards,piano,clarinet,bandplaying,ensembleand
childhoodmusiceducationalsoholdingaMusicTheatricalLab.
ShegivescoursesforContinuingEducationandcollaborateswith
institutionsandschoolsbothinlocalandinotherItalianRegions,where
sheisinvitedforworkshopsaboutSpecialMusicalEducation.
Finally,shecollaborateswiththeChildhoodNeuropsychiatricCentreof
theHealthProvincialDepartmentofAltoGarda-Tione,whichhasinthe
MSGitsmainrepresentativeaboutmusicrehabilitation.
tel.+393394004225viaMons.Perli238079TionediTrento(Music
SchoolGiudicarie)
www.scuolamusicalegiudicarie.it
www.specialmentemusica.it
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9.30am–10.00am–Paper11
The Impact of a Service Learning Collaborative Performance Project on Choral Students’ Attitudes Toward Individuals with
Disabilities
Rhonda Vieth Fuelberth Associate Professor, Music Education, University of Nebraska-
Lincoln, USA
Servicelearningisincreasinglyusedasanappropriatemeansof
enhancinglearningininstitutionsofhighereducation.Servicelearningin
musiceducationthroughcollaborativeperformanceopportunitiesmay
provideopportunitiesforgrowththatextendbeyondmusicianshipand
artistry.Becauseofchangesineducationalpoliciesandpractices
resultingfromlegislationthatensuresfreeandappropriateaccessto
educationalexperiences,schools,communities,andothercivic
organizationsareincreasinglyadoptinginclusiveeducationaland
participatorypractices.Guidingprinciplesintheselegislativeactions
promotetheinclusionofU.S.citizenswithawidevarietyofdifferences.
Upto95%ofstudentswithdisabilitiesarenowbeingservedinthe
generalclassroomenvironment.
Thepurposeofthisstudywastotheexaminetheimpactofaservice
learningcollaborativeperformanceprojectonchoralstudents’attitudes
towardindividualswithdisabilities,andtoexamineparticipant
reflectionsofthecollaborativeperformanceforemergingthemes.
Theresearchquestionsthatguidedthestudywere:
1.Doesparticipationinaservicelearningcollaborativeperformance
project
withaninclusivechoirhaveaneffectoncollegiatechoralensemble
members’attitudetowardindividualswithdisabilities?
2.Howdoparticipantsdescribetheirexpectations,experiences,
perceptions,andbeliefsfollowingtheservicelearningcollaborative
performanceproject?
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3.Howmighttheservicelearningcollaborativeperformanceproject
impacttheparticipant’sattitudestowardincludingindividualswith
disabilitiesinfuturemusicalexperiences?
Studentmembersofacollegiatechoralensembleparticipatedina
servicelearningcollaborativeperformanceprojectwithmembersofan
inclusiveandintergenerationalchoralensemble.Thecollegiatechoral
ensemble(N=50)wasasoprano/altochoirmadeupofprimarilyof
freshmenandnon-musicmajors.Theinclusiveandintergenerational
choirwasauniversitysponsoredcommunityensemblemadeupof
individualswithavarietyofphysical,sensory,andcognitivechallenges
aswellasfamilymembersandfriendswhosupportthem.Priorto
participation,collegiateparticipantscompletedaquestionnaire
designedtocollectgeneraldemographicinformationaswellas
informationregardingpreviouscontactwithindividualswithdisabilities.
Afterthecombinedchoirs’rehearsalandperformanceevent,
participantscontributedareflectiveessaywhereparticipantswrote
abouttheirexperiences.Reflectionisconsideredakeycomponentto
servicelearning.Participantreflectionsofthecollaborativeperformance
wereanalyzedforemergingthemes.
RhondaViethFuelberth-RhondaJ.FuelberthisassociateprofessorofmusiceducationattheUniversityofNebraska-Lincoln,GlennKorff
SchoolofMusicwheresheservesastheChairofGraduateMusic
Education.Inadditiontoteachingcoursesinchoralmusiceducation,
musicandspecialeducation,andconductingandliteratureforschool
ensembles,sheistheartisticandprogramdirectorfori2Choir(Inclusive,
Intergenerational,ExponentiallyBetterTogether),anefforttoopen
choralsingingopportunitiestoindividualswhohaveavarietyof
physical,sensory,behavioral/emotional,andcognitivechallenges,as
wellasthosewhosupportthemthroughtheirfriendshipand
musicianship.Shefrequentlyservesasaclinicianandguestconductor,
andhaspresentedandpublishedresearchatthestate,regional,
nationalandinternationallevelsoftheNationalAssociationforMusic
Education,theInternationalSocietyforMusicEducation,andthe
AmericanMusicTherapyAssociation.
rfuelberth2@unl.edu
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http://arts.unl.edu/music/faculty/rhonda-fuelberth
10.00am–10.30am–Paper12
New Voices: MT Services for Culturally and Linguistically Diverse Students with Multiple Disabilities
Amelia Greenwald Furman
BackgroundTheurbanschool-agepopulationaroundtheworldisbecoming
increasinglydiverseanditisimportanttobeknowledgeableofall
students’needs.CurrentlyintheMinneapolisPublicSchools27%ofthe
studentsreportalanguageotherthanEnglishastheirhomelanguage.
Chamberlain,in2005reportedthattheneedsofCulturallyand
LinguisticallyDiverse(CLD)studentsgobeyondEnglish-as-a-second-
languageprograms.AsignificantnumberofMinneapolisPublicschool
studentswithandwithoutspecialneedsarefromculturallyand
linguisticallydiverse(CLD)backgrounds.
CLDstudentsinadditiontoanewlanguageareacquiringanewculture,
anewwayofthinking,andanewwayofbehavingandcommunicating.
Duetodifficultyinassessingstudentskillsandabilitiesthereisconcern
thatCLDstudentsareoverrepresentedinspecialeducation.Muchof
theresearchfocusesonhigh-incidencedisabilities,withanemphasison
learningdisabilities(LD)sincethatdiagnosisaccountsforoverhalfofthe
populationwithdisabilitiesintheUnitedStates.Thereislittleresearch
ontherepresentationofchildrenfromCLDbackgroundswithmoderate
andseveredisabilities.
Theamountofinformationonevidence-basedpracticewithCLD
studentswithdisabilitiessuchasDownSyndrome,WilliamsSyndrome,
andASD,isverylimited.Inthesecasesthedisabilityoftenbecomesthe
majorfocuswithcultural,linguisticorotheraspectsignored.
Focus/Approach:Thissessionreflectscurrentmusictherapyandmusic
educationworkdoneintheurbansettingwithstudentswithmoderate
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andseveredisabilitiesinadditiontotheirfamilyculturesofHmong,
SomaliandSpanish.Musictherapistsandeducatorsneedtobeawareof
differingculturalviewsregardingtheetiologyandmeaningof
disabilities.Therearealsodifferingculturalviewsonmusic.Forinstance
muchoftheinstructionforstudentswithseveredisabilitiesisfocused
onstimulationandworkingwithtoys,aWesternapproachandavery
foreignconcepttomanyfamiliesespeciallythoseusinggrandparentsas
caregivers.Beinginformedoftenpreventsmisunderstandingsthat
impactastudent’seducationalprogram.Thereisarangeofcultural
differencesaroundliteracyespeciallyinthehomesetting.Thisimpacts
theacquisitionofreadingandlanguageskillsofstudentsandis
importantinformationformusictherapistsandeducators.
Giventheincreasingdiversityoftheschoolsettingmusictherapistsand
educatorsneedtounderstandtheculturalbackgroundofstudentsas
theycopewiththeprocessofsecondlanguagelearninginadditionto
theneedscreatedbymoderatetoseveredisabilities.
AmeliaGreenwaldFurman-AMYisamusictherapist/musicspecialist
withtheMinneapolisPublicSchools.SheholdsaBAinharp
performance,amaster’sdegreeinmusictherapy,amusiceducation
licenseandcertificatesinOrffLevelI,andNeurologicMusicTherapy.
Herclinicalinterestsincludeearlychildhood,ASD,culturallyand
linguisticallydiversestudents,andinclusion/mainstreaminginthemusic
educationclassroom.Amyhaspresentedatnationalandinternational
professionalconferencesandhaswrittenforavarietyofprofessional
journalsandmusictherapypublications.Shehasservedmusictherapy
organizationsinmanycapacitiesandcurrentlyservesontheAMTA
BoardofDirectorsasPastPresident.
LeadMusicTherapistMinneapolisPublicSchools
ImmediatePastPresident,AmericanMusicTherapyAssociationafurman@mpls.k12.mn.us
COFFEE BREAK 11.00am – 11.30am
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11.00am–11.30am-Paper13Disability Porn: A Qualitative Analysis of Comments on Music and Persons with Disabilities Found on International YouTube
Posts
Michelle Hairston, Professor, East Carolina University (Greeneville, NC)
Alice-Ann Darrow, Professor, Florida State University (Tallahassee, FL)
PurposeThepurposeofthisstudywastoconductaqualitativeanalysisof
commentsregardingmusicianswithdisabilitiesfoundoninternational
YouTubeposts.
BackgroundAnonymouscommentsaboutpersonswithdisabilitiesonsocialmedia
andanalysesofthesecommentsviaqualitativesoftwareareauseful
meansfordeterminingcurrentandinternationalperspectiveson
disabilityandmusicparticipation.Ofparticularconcernarecomments
disabilityactivistshavecoined―inspirationalporn.Inspirationpornis
anymeme,videoorfeel-goodarticlethatsensationalizespeoplewith
disabilities.Examplesareimagesofindividualswithdisabilitiesengaged
inordinaryactivities,inthecaseofourstudy–musicmaking,and
captionedwithcommentsthatdescribetheimagesasinspirational.‘The
disabilitycommunityrejectsdepictionsandcommentslikethese;
furthermore,suggestingtheironlypurposeistomakethenon-disabled
viewerorreaderfeelgood.‘Disabilityactivistssuggestthatinspirational
highsfromwatchingpeoplewithdisabilitiesthriveneedtobereplaced
withenergyplacedonmoreimportantissueslikeeducationalaccessand
employmentforindividualswithdisabilities.
MethodArepresentativesampleofinternationalvideosdepictingindividuals
withdisabilitiesengagedinmusicmakingwerethestimuliusedforthe
presentstudy.Thedatausedforanalyseswerethecommentsposted
aboutthemusicstimulusvideos.Thesecommentswereanalyzedusing
thequalitativesoftwareLinguisticInquiryWordCount(LIWC)and
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SentiWordNetthesaurus,alexicalWordNet-basedresourcecontaining
sentimentannotations.Theseanalysesallowedprincipalthemesto
emergewithrespecttounderstandingthepeculiaritiesofrespondents'
worduseandexpressedsentimentsaboutthedepictionsofmusicians
withdisabilities.
ResultsTheinductionprocess,andtheprocessfordetermining
trustworthiness—asdescribedinnumerousqualitativeanalysistexts—
wereusedtodeterminethefollowingfourmajoremergentthemes:(a)
musicianswithdisabilitiesaregenerallyconsideredinspirational,‘(b)
generalizedpositiveimpressionsofmusicianswithdisabilities,(c)videorespondents‘preferencefordescriptorssuchascourageous‘and
inspirational‘ratherthanreferencestomusicianship,(d)implied
disabilitycondescension.
Implications/ConclusionsTheidentitiesofunderrepresentedgroupsareoftenshapedbyhow
thesegroupsareframedincommentaryonsocialmedia.Theidentities
ofpersonswithdisabilitiesareoftenframedinseeminglypositiveterms
suchasinspirational‘andcourageous.‘Numerousauthorswith
disabilitieshavesuggestedthatdisabilityisasocialconstructofpublic
perception.Musiceducatorscandomuchtocombatsuchperceptions
byreframinghowtheirstudentswithdisabilitiesareperceivedinclass
andonsocialmedia.
MichelleHairston-MichelleHairstonisaProfessorofMusicTherapyat
EastCarolinaUniversity,andChairoftheMusicTherapyandMusic
EducationDepartment.Shehas39yearsofexperienceteachingand
beingamusictherapist.InadditiontoEastCarolinaUniversity,she
workedataSchoolforIntellectualDisabilitiesinSouthCarolinaandthe
GeorgiapublicschoolsasaBehaviorDisordersspecialist.SheisaPast
PresidentoftheAmericanMusicTherapyAssociationandhasreceived
theAMTAServiceAwardaswellastheSoutheasternRegionAwardfor
ServiceandAwardforResearch.SheisaformerrecipientoftheECU
SchoolofMusicOutstandingTeacherandScholarAward.Dr.Hairston
hasbeenpublishedinTheJournalofMusicTherapy,MusicTherapyPerspectives,SoutheasternJournalofMusicEducation,Journalof
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ResearchinMusicEducation,andInternationalJournalofMusicEducation.SheiscertifiedasaNeonatalIntensiveCareMusicTherapist.
Alice-AnnDarrow-Alice-AnnDarrowisIrvinCooperProfessorofMusic
intheCollegeofMusicatFloridaStateUniversity.BeforecomingtoFSU
in2003,shetaughtatTheUniversityofKansasfor20yearswhereshe
heldcourtesyappointmentsintheDepartmentsofSpeechandHearing
andSpecialEducation,andworkedwithstudentsattheKansasSchool
fortheDeafinOlathe,KS.Herareasofresearchandclinical
specializationincludenonverbalcommunicationintheclassroom,and
integratedgroupsinclinicalpractice.Sheisco-authorMusicinSpecialEducation,MusicTherapyandGeriatricPopulations,andeditor
ofIntroductiontoApproachesinMusicTherapy.ShehasbeentherecipientofresearchandclinicalpracticeawardsfromtheAmerican
MusicTherapyAssociation,andateachingawardfromtheFloridaMusic
EducationAssociation.SheispastChairoftheCommissiononMusicand
SpecialEducationfortheInternationalSocietyforMusicEducation.
HAIRSTONM@ecu.edu
aadarrow@fsu.edu
11.30am–12.00pm–Paper14
Experiences and Perceived Outcomes in Teaching Executive Functioning to Elementary School Children Through Music,
Visual, and Performing Arts Integration
Dr. Bethanie L. Hansen Co-author (not attending): Mr. Jeff W. Hansen
Thisstudywasaqualitativeexaminationoftheexecutivefunctioning
instructionprovidedto29fourthgradechildren,usingmusic,visualart,
andperformingartsintegration.Thisinvestigationofexperiencesshared
bytheteacherandhisstudentscouldhelpreadersunderstandwhether
overtinstructionofexecutivefunctioningtoamainstreamedclassof
childrenbothwithandwithoutdisabilitieshasbenefitsinsocial
interactionqualityandacademicperformance.Researchquestions
included:(a)Whatwastheprocessofteachingexecutivefunctioningto
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agroupoffourthgradechildren?(b)Whatperceivedeffect,ifany,did
musicandartsintegrationhaveonthesocialinteractionqualityofa
groupoffourthgradechildren?(c)Whatperceivedeffect,ifany,did
musicandartsintegrationhaveontheacademicperformanceofagroup
offourthgradechildren?(d)Didtheexperiencesorperceivedoutcomes
forchildrenwithdisabilitieswhoparticipatedinexecutivefunctioning
instructionthroughmusicandartsintegrationdifferfromthe
experiencesandperceivedoutcomesofchildrenwithoutdisabilitiesina
groupoffourthgradechildren?Datacollectionmethodsincluded
interviewing,observing,andresearcherjournaling;analysisinvolved
datacoding,selectingrepresentativequotes,sortingthematically,and
summarizing.Importantthemesincludedmetacognition,teamwork,
productivity,andasenseofbelonging.Noteworthyperceivedoutcomes
forachildwithAttentionDeficit
HyperactivityDisorder(ADHD),achildwithDyslexia,andachildonthe
Autismspectrumdisorderarepresentedaswellasthoseofchildren
withoutdisabilities.
Keywords:ExecutiveFunctioning,MusicandArtsIntegration,ADHD,
Autism,Dyslexia,4thGrade
BethanieHansen-Dr.BethanieHansenhastaughtpublicschoolmusic
for20yearsandisanAssociateProfessorandFacultyDirectorforthe
SchoolofArts&HumanitiesatAmericanPublicUniversity/American
MilitaryUniversity.SheholdsaDoctorofMusicArtsinMusicEducation
degreefromBostonUniversity.
Dr.Hansenhaspresentedteacherworkshopsandresearchbothinthe
UnitedStatesandinBrazilontopicssuchasADHD,AutismSpectrum
Disorder,workingwithchildrenwhohavespecialneedsinmusicclasses,
careers,writing,andonlineeducation.Hercurrentresearchinterests
includeonlinelearning,autismspectrumdisorders,andmusiceducation
areas.
JeffHansen-Mr.JeffHansenhastaughtpublicschoolfor11yearsandis
alsoagraduatestudentinEducationalLeadershipatAmericanPublic
University.Heisactiveinthemusiccommunityasaformerdirectorof
theMightyOakBarbershopchorusandcurrentperformerinvarious
quartets.Aspartofhisteachingphilosophy,Mr.Hansenregularly
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includesartsintegrationthroughouttheschooldayandpreparesan
extensivemusicalplaywithhis4thgradestudentsannuallyaswell.
Dr.BethanieL.Hansen,AssociateProfessorandFacultyDirector,SchoolofArts&Humanities,AmericanPublicUniversitySystems,
CharlesTown,WV,U.S.A.bhansen@apus.edu
http://www.apu.apus.edu/index.html
Mr.JeffW.Hansen,TeacherinBoiseSchoolDistrict,Boise,ID,U.S.A.,andGraduateStudentinEducationalLeadershipatAmericanPublic
University,CharlesTown,WV,U.S.A.jeff.hansen@boiseschools.org
12.00pm–12.30pm–Paper15Many-Sided Music Education Approaches for Diverse Learners
Markku Kaikkonen Director
Special Music Centre Resonaari
Becauseoftheinteractionbetweentheteacherandthestudent,
learningmusichasasocialdimension.However,theversatilespecial
needsofhumanbeingsoftenbringadditionalchallengestointeractions
andteaching/learningprocesses.Forexample,developmental
disabilitiesorphysicalimpairmentscancreatedifficultiesinperceiving.
Still,methodsinmusiclearningandteaching-carefullycombinedwith
thepractices(imitation,echo,notereading,languageusage,composing,
andmusictechnology)-cansignificantlygenerateandenhancethe
organizedbehaviour,interactionskills,andlearningofthespecialneeds
students.Theaimofthispresentationistoexplicatehowstudentswith
specialneedslearnmusicalskills,andequallyhowmusic,methods,and
practicesinmusiclearningorganizeanddifferentiatestudents’
behaviourandinteractionskills.
Thispresentationintroducesmany-sidedmusiceducationapproaches
developedintheSpecialMusicCentreResonaari(Helsinki,Finland).
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Differentmethodsareusedintheseteachingprocessesandapproaches.
Many-sidedteachingisalsoefficientindevelopingindividual’scognitive
andmotoriccapabilitiesaswellaslinguisticandsocialskills.
Thepresentationwillintroduceexamplesofdifferentteaching
approachesandtasksthatcanbeeasilyvariedandcuedtomeetthe
versatileskilllevelsandneedsofthestudents.Also,SpecialMusic
CentreResonaariMusicSchool’smethodsandphilosophiesfordiverse
learnerswillbeintroduced.Theseexamplesandapproacheswillprovide
multipletoolsformusicteachersandalsofortherapistsindifferent
fields.
MarkkuKaikkonen-MarkkuKaikkonenworksasadirectoratSpecial
MusicCentreResonaari.HereceivedhisMMus(musiceducatorand
therapist)atSibeliusAcademy(Helsinki,Finland)andaccomplished
AdvancedStudiesinDanceandMusicPedagogyatUniversity
Mozarteum’sOrffInstitute(Salzburg,Austria).Heisaco-author/editor
ofdozensmusiceducationbooksandarticles.Over50ofhissongsfor
instrumenttuitionandearlychildhoodmusiceducationhavebeen
published.Mr.Kaikkonenisaguestlecturerincontinuingeducation
programsinFinlandandabroad.HeisaboardmemberofFinnish
SocietyforMusicEducationandConcertCentreFinland.Heservesasa
chairinCommissiononSpecialMusicEducation&MusicTherapyof
InternationalSocietyforMusicEducationISME.
markku.kaikkonen@resonaari.fi
www.resonaari.fi
12.30pm–1.30pm–PosterSessionsPoster1
Teaching Music to Students with Special Needs: A Model for Pre-Service Music Educators
Alice M. Hammel, DMA; Instructor of Music Education; James
Madison University, Harrisonburg, VA, USA;
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David A. Stringham, Ph.D.; Associate Professor of Music;
James Madison University, Harrisonburg, VA, USA
Gary K. Ritcher, Ed.D.; Emeritus Professor of Music Education; James Madison University, Harrisonburg, VA, USA (not
attending the commission seminar)
Asthenumberofstudentsincludedinmusicclassesgrows,itis
increasinglyimportantforteacherstoprovidehighqualitymusic
experiencesforstudentswholearndifferently.Pre-serviceandin-
serviceteachersfeelunpreparedtoservestudentswithspecialneeds.
Similarly,experiencedmusicteachereducatorsmaylackknowledgeand
experiencerelatedtothisarea.Whilemusicteachereducatorshave
substantialknowledgeandexperiencesrelatedtoavarietyofcontent
(e.g.,saxophoneembouchure,dupleandtriplemeter,analyticalskills)
thatinformtheirworkwithpre-servicemusicteachers,itisuncommon
fortheirexpertisetoincludefacilitatinglearningforstudentswith
specialneeds.
Approachesthatvisitcoreunderstandingsandprinciplesinvaried
contextsovertimemaybemorebeneficialthanasinglecourseor
experience.Justas‘oneshot’professionaldevelopmentexperiencesare
lesseffectivethanlongtermones,wesuspectthatlong-term
engagementwiththiscontentresultsindeeperunderstandingand
greatercommitmenttoimplementingtheseideasinpractice.
Inthisposterpresentation,wedescribeacurricularmodelforproviding
pre-servicemusiceducatorswithknowledgeandskillstheyneedto
effectivelyteachmusicstudentswithspecialneeds.Wealsoexplore
howearlycareerteacherswhohavereceivedthisinstructionmay,as
theyapplytheseprinciplesintheirclassrooms,provideakindof
“reverseprofessionaldevelopment”forteachereducatorsatthe
institutiontheyattended.
Themodeladoptedbyouruniversityisamusic-specific,four-year
sequencetaughtbyanacknowledgedexpertinteachingmusicto
studentswithspecialneeds.Instructiontakesplaceduringoneweek
eachsemester,andprovidesopportunitiestoapplytheseconceptsin
multiplemusiceducationcourses(e.g.,instrumentalmethods,vocal
methods).Otherfacultymemberswhoteachcoursesinthe
undergraduatemusiceducationcurriculumbenefitfromdeveloping
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pedagogicalknowledgethatmaynothavebeenincludedintheirown
trainingasmusicteachersormusicteachereducators.
Throughthisposter,threeteachereducatorsarejoinedbythreeearly
careerteacherswhohaveprogressedthroughthismodelandsharetheir
experiences.Wealsodrawfromessayswrittenbyupper-level
undergraduatestudentswhohavesummarizedwhattheybelieveis
valuableaboutthismodelandtheskillstaught.
Teachereducatorsreflectonwhattheyarelearningfromtheyoung
teachers.Theyalsoexploretheconceptofwhatmightbecalled“reverse
professionaldevelopment.”Acknowledgingthelevelofpre-service
preparationtheirstudentsreceivedfarexceedstheirown,itislikely
theseteachereducatorshavemuchtolearnfromtheirformerstudents.
AliceM.Hammel-Dr.AliceM.Hammelisawidelyknownmusic
educator,author,andclinicianwhoseexperienceinmusicis
extraordinarilydiverse.SheiscurrentlyaffiliatedwithJamesMadison
andVirginiaCommonwealthUniversitiesandhasalargeprivatestudio
inRichmond,VA.Sheisaco-authorofseveralresourcesavailable
throughOxfordUniversityPressincluding:TeachingMusictoStudentswithSpecialNeeds:ALabel-FreeApproach,TeachingMusictoStudentswithAutism,andWindingitBack:CreatingIndividualizedInstructioninMusicClassroomsandEnsembles.SheisChairoftheNationalAssociationforMusicEducationTaskForceonStudentswithSpecial
Needs.Herprimarygoalistobecomeabetterteacherwitheachpassing
day.
hammela@me.com
stringda@jmu.edu
Poster2
Adaptations and Modifications Used By String Orchestra Teachers to Accommodate Students with Autism in Inclusive
Settings
Annalisa C. Chang
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Thepurposeofthisstudywastoinvestigatewhatadaptationsand/or
modificationsstringorchestrateachersprovideininclusivesettingsto
facilitatelearningforstudentswithautismspectrumdisorder(ASD).
Specifically,theresearchersoughttodetermine:(1)whattype(s)of
adaptationsand/ormodificationsstringteachersprovideforthese
students,and(2)whatchallenges,ifany,stringteachersexperience
whenteachingstudentswithASDininclusivesettings.Participants(N=
2)forthispilotstudywereschoolorchestradirectorsfromthe
SoutheasternUnitedStates.Participantswereaskedaseriesof
demographicquestionstodetermineiftheytaughtstudentswithASDin
inclusivesettings.Orchestradirectorswerethenaskedtoansweran
openresponsequestioninwhichtheydescribedwhatadaptations
and/ormodificationstheyusedtofacilitatelearningforstudentswith
ASD.Responseswerecodedbytheresearcheranddividedintothree
broadcategories:(1)environmentalaccommodations,(2)instructional
accommodations,and(3)behavioralaccommodations.Resultsofthis
studyindicatedthemajority(n=23)oftheaccommodationsdescribed
byteacherswerebehavioral.Fifteenoftheaccommodationsdescribed
wereinstructional,and13wereenvironmental.
AnnalisaChang-AnnalisaChangisaPh.D.CandidateatFloridaStateUniversity.PriortomovingtoFlorida,shewasanorchestra,chorus,and
generalmusicteacherintheNorthCarolinaPublicSchools.Shereceived
herB.M.andM.M.inMusicEducationfromtheUniversityofNorth
CarolinaatGreensboro,whereshewasaNorthCarolinaTeaching
Fellow.SheisactiveintheTallahasseeareaasaviolinistandfiddle
player.Herresearchinterestsincludestringteachereducation,inclusion
ofstudentswithexceptionalitiesinstringclassrooms,andmusic
educationforstudentsinunderservedpopulations.
annalisa.chang@gmail.com
Poster3
The Development and Management of Community Music Ensembles for Individuals with Exceptionalities
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Julia Heath-Reynolds, PhD,
Mark A. Belfast, Jr., PhD,
Emily Pence Brown, PhD
Roughly15%oftheworld’spopulationhasadisabilitysevereenoughto
limitparticipationinfamilyandcommunitylife.TheWorldHealth
Organizationsupportscommunity-basedrehabilitationtoprovidebasic
needsandenhancethequalityoflifeforpeoplewithdisabilitiesand
theirfamilies.Theseprogramsoftenincreasesocialinteractionbetween
individualswithdisabilitiesandmembersofthegeneralpublic,butthey
maynotalwaysinvolvemusicmakingopportunities.Thismightbedue
toalackofresources,especiallyforindividualswithdisabilities.
Engaginginmusicmakingcanprovideanavenueforpersonal
expression,aidinrelationshipbuilding,andfosterpositivesocial
experiences.Providingensembleperformanceopportunitiesfor
individualswithdisabilitiesmayseemlikeanoverwhelmingtask;
therefore,thepurposeofthisstudywastoinvestigatehowexisting
community-basedprogramsprovidingmusicperformanceensemblesfor
individualswithdisabilitiesweredeveloped,managed,andfunded.
Participants(N=14)wereofficialsinorganizationsthatsponsoredmusic
ensemblesforindividualswithdisabilitieslocatedinsixcountriesandon
threecontinents.Initialdescriptivedatawascollectedfromorganization
websites,andofficialswereinvitedtocompleteanonlinequestionnaire.
Theinstrumentenabledrespondentstoprovidemember,staff,and
administrativeinformationasitrelatedtotheiruniqueorganizations.
Theresultsindicatedthatalthoughtheseprogramswerelocatedin
differentpartsoftheworld,manyofthemsharedsimilarstructuresand
goals.Mostmusicprogramsforindividualswithdisabilitieswere
developedaftermembersofacommunityidentifiedaneedforsuch
programs.Amajorityoftherespondingprogramsoperatedonanannual
budgetover$10,000,utilizedpaidandvolunteerstaffwithvaryinglevels
ofmusicalexpertise,hadadesignatedrehearsalspace,andprovided
theirmemberswithinstruments.Mostorganizationsalsooffereda
varietyofensemblesthatperformedpubliclyatleastonceayear.Of
particularinteresttothestudyweretheopen-endedresponsesfrom
organizationofficialswhoindicatedavarietyofreasonsfortheexistence
oftheirprograms.Thesereasonsincludedadesiretoraiseexpectations,
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provideequalopportunities,andcreatepositivepublicexposurefor
individualswithspecialneeds.
Mostmusicprogramofficialsthatparticipatedinthestudyindicated
thattheyreceivedcommunity,financial,andmembersupport.
Subsequentinvestigationsmightexploreoptionsforadditionalfinancial
assistanceororganizationalpartnershipswiththeseprograms.Future
researchthatutilizesqualitativemethods,suchassemi-structured
interviewswithperformingensemblemembers,mightprovide
invaluableinformationconcerningmemberperceptionsand
organizationaleffectiveness.
JuliaHeath-Reynolds-JuliaHeath-ReynoldsisAssistantProfessorofMusicatIndianaStateUniversitywheresheteachescoursesin
ElementaryandSecondaryGeneralMusicandMusicinSpecial
Education.AsamemberofNAfME,AMTA,andISME,Dr.Heath-
Reynoldsisactiveinthefieldofmusiceducationandhaspresented
researchandworkshopsatthestate,national,andinternationallevel.
SheholdsaBME,MME,andPhDinMusicEducationfromTheFlorida
StateUniversity.Herresearchfocusincludesmusicforspeciallearnersin
primaryandsecondaryschools,teachertraining,andnonverbal
communicationinthemusicclassroom.
MarkBelfast-Dr.MarkA.BelfastJr.isanassistantprofessorofmusic
educationatSoutheasternUniversity.Hisdutiesincludeteachingmusic
educationcourses,supervisingstudentteachersanddirecting
SoutheasternUniversity’sjazzensemble.Dr.BelfastholdsaPhDinmusic
educationfromTheFloridaStateUniversityandhehaspresented
researchandeducationalclinicsatmultipleregionalandnational
venues.Hisresearchinterestsincludeteachereffectiveness,
performanceevaluationprocedures,musicteachercurriculumand
training,perceptionsofperformancequality,jazzperformanceand
pedagogy,andstandards-basedmusicinstruction.
EmilyPenceBrown-EmilyPenceBrownistheassistantprofessorof
choralmusiceducationatBowlingGreenStateUniversityinBowling
Green,Ohio.SheholdsaBachelorsdegreefromRutgersUniversity,a
MastersdegreefromTheFloridaStateUniversityandrecently
completedherPhDatTheUniversityofSouthernMississippi.Dr.Brown
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taughthighschoolchoirinFloridaforfiveyearsbeforebeginningher
PhDstudies.Herresearchinterestsincludeteachersuccess,wellness,
retention,andvocalhealth.
JuliaHeath-julia.heath@indstate.edu
MarkBelfast–mabelfast@seu.edu
EmilyBrown–emilypencebrown@gmail.com
Poster4
An Investigation of Accessibility Information Found On International Concert Venue
Websites
Dr. Kimberly VanWeelden Ms. Jasmine VanWeelden
Dr. Julia D. Heath-Reynolds Ms. Laura Meehan
Performancevenuesoftenserveasoneoftheprimarysourcesformusic
concertswithinthecommunity;and,undertheConventiononthe
RightsofPersonswithDisabilitiesadoptedbytheUnitedNationsin
2006,thesevenuesarerequiredtoprovideaccessibilitytoallpatrons.
Unfortunately,researchinvestigatingaccessibilitytoconcertvenuesis
fairlylimited;therefore,thepurposeofthisstudywastoinvestigate
whetherinformationregardingaccessibilityaccommodationswere
availableoninternationalconcertvenuewebsites.Specifically,14items
underthreebroadercategorieswereexamined:(1)purchasingtickets,
(2)accessibilityaccommodationsavailableoutsidethevenue,and(3)
accessibilityaccommodationsavailablewithinthevenue.
Internationalconcertvenuesthatcontained2000ormoreseats(N=
200)wereexamined.Foreachvenue,thecorrespondingwebpagewas
thoroughlyinvestigatedtofindinformationabout14items,which
included:aphonenumber,aseatingchartoftheconcertvenuethat
designateddisabilityseating,designatedticket(s)forpersonswith
disabilities,designatedticketsforcompanion(s),designatedticketsnear
electricaloutlets,location(s)ofaccessibleparkingspaces,provisionof
cartodoorassistance,location(s)ofaccessibleentrances,doortoseat
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assistance,listeningdevices,signlanguageservices,largeprintconcert
programs,brailleconcertprograms,andaudioconcertprograms.To
helpensureconsistentdatacollection,anoperationaldefinitionforeach
ofthe14itemswassetapriori.Furthermore,twoindependent
observersprovidedreliabilityforthisstudy,ofwhicheachexamined25
randomlychoseninstitutionwebsitestofindtheinformation.Inter-rater
reliabilityforthesewas100percentrespectively.
Ofthe200concertvenueswebsitesinvestigated,nonecontainedall14
accessibilityitems;however,72%(n=144)didcontainatleastoneitem.
Theconcertvenuesthatprovidedthemostinformationabout
accessibilityaccommodationsweretheLosAngelesMusicCenter(11
items)andtheDenverPerformingArtsComplex(10items).When
resultswereanalyzedbyindividualaccommodation,theaccessibility
itemslistedthemostfrequentlyonthevenuewebsiteswere:
informationaboutthelocation(s)ofaccessibleparkingspaces
surroundingtheirvenue(44%),aphonenumber(43%),andprovisionof
listeningdevices(42.5%).Conversely,theaccessibilityitemsthatwere
listedleastfrequentlyonthevenuewebsiteswere:informationabout
providingdesignatedticketsnearelectricaloutlets(<1%),audioconcert
programs(2.6%),andprovisionofdoortoseatassistance(3.5%).Further
resultsarereportedanddiscussedwillbelocatedontheposter.
KimberlyVanWeelden-Dr.KimberlyVanWeeldenisProfessorofMusic
EducationatFloridaStateUniversity.Herresearchpublications
regardingchildrenwithdisabilitiesappearinleadingnationaland
internationaljournalsinMusicEducationandMusicTherapy.Sheserves
ontheEditorialBoardofUpdate:ApplicationsforResearchinMusic
Education,isaWorkGroupMemberfortheCommissiononMusicand
SpecialEducationoftheInternationalSocietyforMusicEducation
(ISME),istheSouthernDivisionChairoftheMusicTeacherEducation
SpecialResearchInterestGroup(SRIG),andisapastNationalChairfor
theChildrenwithExceptionalitiesSRIG.
���JasmineVanWeelden-JasmineVanWeeldenhasinterestsinarts
administration,includingmuseumeducationandcuration.Sheholdsa
MastersdegreeinHistoryofArtfromTheCourtauldInstituteofArtand
aBachelor'sdegreeinArtHistorywithcertificatesinAnthropologyand
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MuseumStudiesfromTheFloridaStateUniversity.Shehasworking
experienceinsmallandlargeinstitutions,suchasTheBritishMuseum,
TheCourtauldGallery,andTheFloridaStateUniversityMuseumofFine
Arts.
JuliaHeath-Reynolds-JuliaHeath-ReynoldsisAssistantProfessorofMusicatIndianaStateUniversitywheresheteachescoursesin
ElementaryandSecondaryGeneralMusicandMusicinSpecial
Education.AsamemberofNAfME,AMTA,andISME,Dr.Heath-
Reynoldsisactiveinthefieldofmusiceducationandhaspresented
researchandworkshopsatthestate,national,andinternationallevel.
SheholdsaBME,MME,andPhDinMusicEducationfromFloridaState
University.Herresearchfocusincludesmusicforspeciallearnersin
primaryandsecondaryschools,teachertraining,andnonverbal
communicationinthemusicclassroom.
LauraMeehan-LauraMeehanhasabachelor’sinmusiceducationfrom
TexasTechUniversityandamaster’sinmusictherapyfromFloridaState
University.Sheisaboardcertifiedmusictherapist,andacertified
teacherintheareasofmusicandspecialeducation.Herresearchin
musicforspeciallearnershasbeenpublishedandpresentedatthe
state,national,andinternationallevels.
KimberlyVanWeeldenProfessor,MusicEducationCollegeofMusic
FloridaStateUniversityTallahassee,FL32306-1180kvanweelden@fsu.edu
JasmineVanWeeldenMA,CourtauldInstituteofArt,London,UK,
jvv11@my.fsu.edu
JuliaD.Heath-ReynoldsAssistantProfessor,MusicEducationIndianaStateUniversity
TerreHaute,IN47809Julia.Heath@indstate.edu
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LauraMeehan
BoardCertifiedMusicTherapist—NICU-MTMusicEducator—SpecialEducationEducator
laura.m.meehan@gmail.com
Poster5
A Content Analysis of the Breadth of Music Literature Regarding Students with Exceptionalities
Presenter - Fred P. Spano
Co-presenter - Kimberly VanWeelden
Thepurposeofthisstudywastoascertainthebreadthofliterature
regardingteachingmusictostudentswithdisabilities.Throughcontent
analysis,theresearchersanalyzedmusiceducationresearchjournal
articlesandpractitionerjournalarticlesfromtheinceptionofthe
journal,aswellasdissertations/thesesfrom1950toAugust2015
pertainingtostudentswithdisabilities.Literaturecontentandkeyword
data(existingorassigned)wereanalyzedbyIDEAcategory,musicareas,
K-12settings,andtypeofteachertraining.Overall,469journalarticles
anddissertations/thesesmetthecriteriaforthisstudy.Resultsindicate
thatofthese,142werefoundinmusiceducationresearchjournals,
accountingfor30%oftheliterature;176werefoundinpractitioner
articles,accountingfor38%oftheliterature;and151were
dissertations/theses,accountingfor32%oftheliteratureregarding
teachingmusictostudentswithdisabilities.Otherresultsarereported
andimplicationsarediscussed.
FredP.Spano-FredP.Spano,PhD,isanAssociateProfessorofMusic
Education,andisalsotheAssociateChairfortheDepartmentofMusic
attheUniversityofNorthCarolinaatCharlottewherehecoordinates
severalaspectsforthedepartment,includingoverseeingthevarious
curricula,accreditation,anddepartmentalassessment.Spanohas
presentedmusiceducationresearchandworkshopsforstate,regional,
national,andinternationalconferences,includingtheISMEWorld
ConferenceinPortoAlegre,Brazil.Hehasco-authoredtwotextbooks
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withNicoleRobinsonandSuzanneHall:TeachingElementaryMusic:
IntegrativeStrategiesBetweenMusicandOtherSubjects,andGeneral
Music:AK-12Experience.SpanoconductsresearchaboutLGBTQissues
inmusiceducationaswellasstudentswithexceptionalities,AtUNC
Charlotte,Spanoteachesfoundationsandmethodsclassesinmusic
education,andsupervisesstudentteachers.
KimberlyVanWeelden-Dr.KimberlyVanWeeldenisProfessorofMusic
EducationatFloridaStateUniversity.Herresearchpublications
regardingchildrenwithdisabilitiesappearinleadingnationaland
internationaljournalsinMusicEducationandMusicTherapy.Sheserves
ontheEditorialBoardofUpdate:ApplicationsforResearchinMusic
Education,isaWorkGroupMemberfortheCommissiononMusicand
SpecialEducationoftheInternationalSocietyforMusicEducation
(ISME),istheSouthernDivisionChairoftheMusicTeacherEducation
SpecialResearchInterestGroup(SRIG),andisapastNationalChairfor
theChildrenwithExceptionalitiesSRIG.
fspano@uncc.eduk
vanweelden@admin.fsu.edu
Poster6
Aging Out of IDEA: Preparing Special Learners for Life After the Public Schools Lyn Schraer-Joiner, Robert Rocco, Nicole Olearchik
Everyyearbetween150,000-200,000studentswithdisabilities“ageout”
ofspecialeducation(inmoststatesattheageof22).Theserecent
graduateswhohavesensory,physicalordevelopmentaldisabilitiesand
whohailfrompublicschoolsettingsorspecializedschools“oftenhavea
muchdifferentroadaheadwhenplanningfortheirfuture”(Community
AccessUnlimited,2015).Inmanycases,theiroptionsareoftenlimited
togenericdayprogramsthatfailtooffertheintellectualstimulationand
growthandconsistentopportunitiesforsocializationprovidedbythe
educationalsettingswithwhichtheywerepreviouslyassociated.Though
theIndividualswithDisabilitiesEducationAct(IDEA)requirespublicand
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specializedschoolstoprovidetransitionservicesforstudents(those
withIndividualizedEducationPlans(IEPs),beginningatage16,inorder
topreparethemforentryintotheadultworld,includingopportunities
availabletocontinuetheireducationandemployment(i.e.career
preparationandwork-basedlearningexperiences,transitionplanning
andservicesforstudentswithdisabilitiesarefrequentlypoorornever
provided(Thearc:Forpeoplewithintellectualanddevelopmental
disabilities,2015).Infact,manyofthesestudentstransitionfromthe
publicschoolsystemtotheadultworldfindingthemselveswithno
servicesoropportunitiesforengagingincommunityactivity.
TheAcademyofContinuingEducation(ACE)isaprogramofferedto
UnionCounty,NJresidentsprovidingcontinuingeducationcoursesto
adultsofallageswithdevelopmentaldisabilitiesand/orphysical
disabilities.ProjectReachformerlyknownasProjectReach:TheKean
UniversityConcertSeriesfortheDeaf,haspartneredwiththeACE
programaswellastheRoselleParkElementarySchools,andtheLake
DriveProgramforchildrenwhoaredeafandhardofhearingonavariety
ofmusicandconcertactivities.Thisintergenerationalfocuswillhelpthe
ACEprogrammemberstoparticipateintheirlocalcommunitywhilealso
servingasrolemodelsforthestudentsoftheRoselleParkandLake
DriveProgram.Thepurposeofthisdescriptive(qualitative)research
studywastoinvestigatethepotentialrolethatmusicalinvolvement
(activities,concertperformance)canplayinaidingadults,withsensory,
physicalordevelopmentaldisabilitieswhohaveagedoutofIDEA,with
thetransitionoragingoutprocess.Secondarygoalsofthisresearch
weretodescribetheperceptionsofdeafandhardofhearingchildrenin
workingwithadultspecialneedspopulationsaswellastoreportouton
anychangesintheseperceptionsasaresultoftheirinitialexposureto
thesepopulationsonavarietyofmusicandconcertactivities.Tertiary
goalsofthisresearchweretodescribepre-professionalmusiceducation
majors’perceptionsofworkingspecialneedspopulationspriorto
earningK-12teachercertificationaswellastoreportoutonany
changesintheseperceptionsasaresultoftheirinitialexposuretothese
populationsonavarietyofmusicandconcertactivities.
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Thefollowingresearchquestionswereinvestigated:
1. CanmusicaidindividualswhohaveagedoutofIDEAin
maintainingbasiclifeskills?
2. Canmusichelptopromotequalityoflifeforindividualswhohave
agedoutofIDEA?
3.Whattypesofmusicalactivitycanhelptopromotequalityoflifefor
individualswhohaveagedoutof
IDEA?
3. Whataretheperceptionsofadolescentswithspecialneedsabout
lifeafterpublicschooling?Doesparticipatinginmusicactivities
withspecialneedsadultsmakeadifferenceintheirperceptionsof
this?
Thisposterpresentationwillhighlighttheresultsofthese
collaborativemusicactivitiesandconcerts,aswellasparticipants’
personalmusicmakingexperiences.
References
CommunityAccessUnlimited(2015).TheAcademyofContinuing
Education.Retrievedfromhttp://www.caunj.org/?page_id=2485
Thearc:Forpeoplewithintellectualanddevelopmentaldisabilities.
(2015).EducationissuesforpeoplewithDisabilities:Transition.
Retrievedfromhttp://www.thearc.org/what-we-do/public-policy/policy-
issues/education).
LynSchraer-Joiner-LynSchraer-JoineriscurrentlytheMusicEducation
CoordinatoratKeanUniversity,UnionNJwheresheteachesK-12
generalandinstrumentalmusiceducationmethodscourses,conducting
lab,andsupervisesProfessionalfieldinterns.Sheisthefounderand
directorforPROJECTREACH:TheKeanUniversityConcertSeriesforthe
DeafandtheauthorofMusicforChildrenwithHearingLoss:AResource
forParentsandTeachers(OxfordUniversityPress,2014).Herresearch
hasbeenpresentedonthenationalandinternationallevelsand
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publishedinjournalsincludingEarlyChildhoodDevelopmentandCare,
TheMusicEducatorsJournal,MusicEducationResearch,andthe
HearingJournal.SheservedontheeditorialboardfortheMusic
EducatorsJournalandisaformerchair(2012-2014)andcommissioner
(2010-2012)fortheISMECommissiononSpecialMusicEducationand
MusicTherapy.
RobertRocco-BobRoccobeganhisacademiccareerasanInstructorof
MusicatNYUin1983andin2015celebratedhis30thanniversaryasan
adjunctprofessoratKeanUniversity.Bobisregardedasapioneerof
musicperformancetechnologyforhisworkatNYUandatBellLabswith
MaxMathewsduringthe1980s.From2006-2013,Bobconducted
pioneeringresearchwithmusicfordeafchildrenusingtheMax
Mathewswirelessradiobaton.In2015,thisresearchwaspublishedin
anISMEjournalarticle(ISBN:978-�0-�9942055-�3-�7)entitled
TheConcertSeriesfortheDeafandRadioBatonProject:TwoUnique
MusicProjectswithApplicationsfortheMusicClassroom.In2016,Bob
taughttwoACEmemberstoconductaliveperformanceofBeethoven’s
5thsymphonyusingtheradiobaton.Alsoin2016,BobandMaureen
ButlercontinuedtheirresearchandareplanningtoresumeinSpring
2017withthesametwogroupsofdeafstudents.
NicoleOlearchik-NicoleOlearchikisaseniormusiceducationmajor
andsignlanguageminoratKeanUniversityinUnion,NJ,USA.Herareas
ofstudyincludeelementaryandsecondarygeneralmusic.Nicoleisa
memberoftheLeadershipInstituteoncampuswhichhasafocuson
givingbacktothecommunity.NicoleisanactivememberoftheKean
UniversityConcertChoir,Chorale,WindEnsembleandPercussion
Ensemble.ShehasalsointerpretedforKeanUniversity’sDeafJammers
clubinthreeDeafJamsandin“We’reAllinThisTogether:A
CollaborativeCommunityConcert.”NicolewasthePresidentofKean
University’scollegiatechapterfortheNationalAssociationforMusic
Education(NAfME)andthePresidentfortheNewJerseyMusic
Educator’sCollegiate(NJMEAC)ExecutiveBoard.
LynSchraer-JoinerMusicEducationCoordinator,KeanUniversity
Union.NJ,USAlschraer@kean.edu
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RobertRoccoProfessor,KeanUniversity
Union.NJ,USArrocco@kean.edu
NicoleOlearchik
Senior,MusicEducationMajor,KeanUniversityUnion.NJ,USA
olearchn@kean.edu
LUNCH 1.30pm – 2.30pm
2.30pm–3.00pmPaper16
A Qualitative Analysis of Evaluative Comments Made by Older and Younger Participants in Multiple Intergenerational
Music Programs: Implications for the Global Ageing Perspective
Melita Belgrave, Associate Professor, Associate Professor of
Music Therapy, University of Missouri-Kansas City (Kansas City, MO) Alice-Ann Darrow, Professor, Florida State University
(Tallahassee, FL)
TitleAQualitativeAnalysisofEvaluativeCommentsMadebyOlderand
YoungerParticipantsinMultipleIntergenerationalMusicPrograms:
ImplicationsfortheGlobalAgeingPerspective
Purpose:Thepurposeofthisstudywastodeterminesimilaritiesand
differencesinolderandyoungerparticipants’perceivedbenefits,goals,
andcontinuedparticipationinmultipleintergenerationalmusic
programs.Asecondarypurposewastoapplyfindingstotheglobal
ageingperspective.
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Background
Theglobalpopulationofpeopleages65andolderisexpectedtotriple
to1.5billionbymid-century.Intergenerationalmusicprograms—based
onintentionalreciprocitybetweenthegenerations—aresocialvehicles
thatbringtogetherpeopleofdifferentgenerationsinmutually
beneficial,plannedmusicactivities,designedtoachievespecifiedsocial
andmusicalgoals.Intergenerationalmusicprogramsareconsidered
usefulbecauseindividualsinbothgenerationshaveneedsthatcanbe
metthroughinteractionsinherentinmulti-ageactivities.Researchersin
variouscountrieshavesuggestedthatsuchintergenerationalprograms
canbeusedtomeetbothsocialandeconomicneeds.
MethodConsistentwithacceptedmethodologyinqualitativeinquiry,weused
theconstantcomparativemethodofdataanalysiswhichinvolves
comparingonesegmentofdatatoanother.Datatriangulationand
memberchecksweretheprincipalmethodsusedtoensurethe
trustworthinessofthedataanalysesusedinthisstudy.Analyseswere
usedtoaddresstheresearchquestions:Whatsimilaritiesand
differencesarefoundinyoungerandolderparticipants’perceptions
regarding:(1)thebenefitsoroutcomesofparticipatingin
intergenerationalmusicprograms,(2)thegoalsofintergenerational
musicprograms,and(3)theintendedparticipationinsimilar
intergenerationalmusicprograms?
ResultsCommentsofbothgroupswereanalyzedusingthequalitativesoftware
LinguisticInquiryWordCount(LIWC)andSentiWordNetthesaurus,a
lexicalWordNet-basedresourcecontainingsentimentannotations.
Resultsrevealedolderandyoungerrespondentsperceivedthebenefits
andgoalsofprogramparticipationdifferently,thoughbothgroupsof
respondentsindicatedadesiretoparticipateinsimilarmusicgroupsin
thefuture.Resultsindicateageisanimportantfactorinparticipants’
perceptionsofintergenerationalprograms,andwhiletheperceptionsof
bothagegroupsweregenerallyfoundtobepositive,itseemsthatan
understandingofdifferencesinperceptionsiscriticaltostructuring
successfulprograms.
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Implications/Conclusions
AccordingtoaPewResearchCenterstudy,publicopiniononwhether
thegrowingnumberofolderadultsisaproblemvariesdramatically
aroundtheworld.Intergenerationalprogramshavebeenidentifiedas
onewaytomeetthesocialandeconomicdemandsofaglobalageing
population;therefore,itisimperativethatcarefulconsiderationisgiven
tothestructureofsuchprogramsinordereffectivelyaddressparticipant
needs.
MelitaBelgrave-MelitaBelgravereceivedherbachelor’sdegreein
musictherapyfromMichiganStateUniversity.Shealsoearnedher
master’sinmusictherapy,acertificationinagingstudies,andaPh.D.in
musiceducationwithanemphasisinmusictherapyatFloridaState
University.Belgravehasworkedasamusictherapistinspecial
education,mentalhealth,rehabilitation,hospice,geriatric,and
intergenerationalsettingsthroughoutTexasandFlorida.Herresearch
interestsaremusictherapywitholderadultsandintergenerational
programming.Shehaspresentedatregional,national,andinternational
conferences,andherresearchhasbeenpublishedintheJournalof
MusicTherapyandMusicTherapyPerspectives.Sherecentlyco-
authoredthetextMusicTherapyandGeriatricPopulations:AHandbook
forPracticingMusicTherapists.Hercurrentserviceincludesworkingas
anat-largememberfortheAcademicProgramApprovalCommitteeand
co-chairoftheDiversityandMulticulturalismCommitteeforthe
AmericanMusicTherapyAssociation.
Alice-AnnDarrow-Alice-AnnDarrowisIrvinCooperProfessorofMusic
intheCollegeofMusicatFloridaStateUniversity.BeforecomingtoFSU
in2003,shetaughtatTheUniversityofKansasfor20yearswhereshe
heldcourtesyappointmentsintheDepartmentsofSpeechandHearing
andSpecialEducation,andworkedwithstudentsattheKansasSchool
fortheDeafinOlathe,KS.Herareasofresearchandclinical
specializationincludenonverbalcommunicationintheclassroom,and
integratedgroupsinclinicalpractice.Sheisco-authorMusicinSpecial
Education,MusicTherapyandGeriatricPopulations,andeditorof
IntroductiontoApproachesinMusicTherapy.Shehasbeentherecipient
ofresearchandclinicalpracticeawardsfromtheAmericanMusic
TherapyAssociation,andateachingawardfromtheFloridaMusic
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EducationAssociation.SheispastChairoftheCommissiononMusicand
SpecialEducationfortheInternationalSocietyforMusicEducation.
melitajean@aol.com
aadarrow@fsu.edu
3.00pm–3.30pm–Paper17
The impact of Figurenotes system for music educational equity in Finland
Sanna Kivijärvi
Musiceducationofstudentswithspecialsupportneedshasgained
increasedattentionamongstpractitionersaswellasinresearch.The
subjectofthisresearchisFigurenotes,asimplifiednotationsystem
developedattheResonaariCentreforSpecialMusicEducation(Helsinki)
inthe1990s.InFinland,theapplicationofFigurenoteshasconsiderably
advancedtheopportunitiesforstudentswithintensivespecialsupport
needs(i.e.cognitiveanddevelopmentaldisabilities)toaccessmusicasa
fieldofeducation,culturalactivity,andartform.Forexample,the
utilisationofFigurenoteshasallowedthesestudentstoattendtomusic
lessonsinBasicEducationintheArts,asystemofextracurricular
instructionthatfollowsthegoalsandguidelinesdefinedbytheNational
BoardofEducation.Somestudentswithspecialsupportneedshave
beenexceptionallyhigh-achievingandabletolaunchacareerthatis
similartoanyotherestablishedprofessionalmusician.Inadditionto
thesestudents’individualmusicallearningandchangedsocialroles,
theirindividualorco-operativeexceptionalperformanceshave
challengedtheaudiences,educators,andresearcherstore-assestheir
definitionsofandattitudestowardsdisabilityanddiverseness.
Thisresearchisparticularlyinterestedinanalysinghowtheapplication
ofFigurenotesanticipateschangesineducationalsystems,
rehabilitation,andtherapy,andthuswhatkindsofimpactsithason
otherareasinsociety,too.Theobjectivesofthearticle-based
dissertationare:(1)todescribethedevelopmentandapplicabilityof
Figurenotessystemandtorelateittoothernotationalsystemsusedin
musiceducation,(2)toevaluatethesignificanceofFigurenotesinmusic
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educationandmusic-basedtherapyandrehabilitationinFinlandand(3)
todiscusstheimpactoftheapplicationofFigurenotesonthesocial
statusofpeoplewithintensivespecialsupportneedsintheFinnish
society.Theprojectisconductedaspartoftheresearchinitiative
“ArtsEqual-Theartsaspublicservice:Strategicstepstowardsequality.”
Keywordsmusiceducation;specialmusiceducation;specialsupportneeds;
Figurenotes;educationalequity;socialparticipation
SannaKivijärvi-SannaKivijärviisadoctoralcandidateintheFacultyofMusicEducation,Jazz,andFolkMusicattheSibeliusAcademy,
UniversityoftheArtsHelsinki,Finland.Kivijärvihasaninterdisciplinary
trainingwithanemphasisinspecialeducation,musiceducation,and
sociology.ShereceivedherMasterofScienceinspecialeducation(with
teacherqualification)attheUniversityofHelsinki.Kivijärviisamember
invariousinternationalacademicresearchprojectsandgroupsthat
focusondevelopmentandpromotionofmusiceducationwithstudents
havingspecialsupportneeds.Herresearchinterestsareinwaysinwhich
musicandmusiceducationcanadvanceequity,equality,andsocial
justiceatalllevelsofsociety.
DoctoralcandidateSannaKivijärvi,SibeliusAcademysanna.kivijarvi@uniarts.fi
http://www.artsequal.fi
http://www.resonaari.fi
3.30pm–4.00pm–Paper18
A Case Study of Using Holistic Music Educational Approach on Developing Young Children with Multiple Disabilities
Communication Skills and Physical Movement
Liza Lee - Professor, Chaoyang University of Technology
HolisticMusicEducationalApproachforYoungChildren(HMEAYC)isa
modelcombiningthetheoriesandhands-onpracticefordecadesbythe
researcheratChaoyangUniversityofTechnology,Taiwan.Througha
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numberofstudies,theeffectsofHMEAYChavebeenexaminedfor
childrenwithmultipledisabilities(Cheng,2014;Lee,2014,2015a,c;Liu,
2015).Thepurposeofthestudywastoinvestigatetheimpactofusing
“HolisticMusicEducationalApproach”onimprovingchildrenwith
multipledisabilitiesthedevelopmentsofcommunicationskillsand
physicalmovement.A4year-oldchildwithmultipledisabilitiesenrolled
atanearlyinterventioncenterincentralTaiwanwereselectedby
purposivesamplingtoparticipate.Thedurationwas4sessions,64
weekswith30-minuteinstructionalsessionsonceperweek.Themain
methodologywasaqualitativestudyandquantitativedatawasusedto
receiveobjectivesupport.Datafromtheobservationformsand
interviewswiththetherapistsandclassroomteacherswerecollected.
Theresultsindicatedthroughtheuseof“HolisticMusicEducational
Approach”,theparticipant’scommunicationandphysicalmovement
weregraduallyprogressive.Furthermore,thefindingprovedHMEAYC
hadacrucialandpositiveimpactforchildrenwithmultipledisabilitiesto
expressemotions,engagewithothersandfosterlearningmotivation.
LizaLee-LizaLee,Ed.D.isProfessorinthedepartmentofearly
childhooddevelopmentandeducationatChaoyangUniversityof
TechnologyinTaichung,Taiwan.SheservesasConsultantfortheCenter
fortheStudyofMusicandCultureattheNewYorkInstituteforSocial
ResearchandisagraduateofTeachersCollege,ColumbiaUniversity
whereshereceivedherdoctoraldegreeinmusicandmusiceducation.
Dr.Leeconductsresearchinbothearlychildhoodmusiceducationand
musictherapyinthetreatmentofspecialneedschildren.Herworkhas
ledtoongoinginvitationstolectureatprestigiousuniversities,
conferencesandseminarsaroundtheworld.
lylee@cyut.edu.tw
Paper19
Disabled and Discouraged
George Low
Unabletoattend
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COFFEE BREAK 4.30pm – 5.00pm
5.00pm–5.30pm–Paper20
Learning Disabilities and Music
Kimberly McCord
Specificlearningdisabilitiesarethemostfrequentlyoccurringof
disabilities,alsoreferredtoasahighincidencedisability.Currentlythe
NationalCenterforEducationalStatistics(2010)estimatesthat2.4
millionor41%ofchildrenintheU.S.receivingspecialeducationservices
arediagnosedwithoneormorespecificlearningdisabilities.Dyslexiais
themostcommonoflearningdisabilitiesbutothersincludedyscalculia,
dysgraphia,anddyspraxia.Childrenwithlearningdisabilitiesfrequently
strugglewithorganizationalskills,fineorgrossmotorcontroldifficulties,
andshortorlongtermmemoryloss.Overy(2000,2003)identified
abnormalneuralprocessingdifficultiesinindividualswithdyslexiathat
impactsmusictraining,especiallyrhythmictraining.Apossible
interventiontoimprovetemporalprocessingabilityinchildrenwith
dyslexiaistofocusonteachingrhythm.HornickelandKraus(2013)
studiedbrainfunctioninchildrenwithdyslexiaandfoundthatdyslexics
haveweakauditoryprocessingskills.Goswami(2011)identified
difficultiesinchildrenperceivingamplituderisetimetobeonecauseof
developmentallearningdifficulty.Amultisensoryapproachtoteaching
childrenwithspecificlearningdisabilitieshaslongbeenatthetopof
recommendationstomusicteachers(Atterbury,1990;Overy,2003;
Register,Darrow.Etal.,2007;Westcombe,2002;Pratt,2008;McCord,
2004;Heikkila&Knight,2012;Hammel,2013).Thissessionwillfocuson
themostcurrentresearchinregardstomusicandlearningdisabilities
withstrategiesfromresearchthathaveprovedhelpfultochildrenwith
learningdisabilities.
KimberlyMcCord-KimberlyMcCordisProfessorofMusicEducationat
IllinoisStateUniversitywheresheteachesgeneralmusicmethodsand
specialmusiceducation,includingaFigurenotesrockbandforteenagers
andadultswithdisabilities.SheisanISMEBoardmember,founderand
firstchairoftheJazzSpecialInterestGroup,andisthepastchairofthe
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ISMECommissiononMusicinSpecialEducation,MusicTherapyand
MusicMedicine.ShefoundedandwasthefirstchairoftheNational
AssociationforMusicEducationSpecialResearchInterestGroupon
ChildrenwithExceptionalities.McCordrecentlyco-editedExceptional
MusicPedagogyforChildrenwithExceptionalitieswithDeborah
VanderLindeandhasanupcomingbook,TeachingthePostsecondary
MusicStudentwithDisabilitiespublishedthisfallforOxfordUniversity
Press.
ProfessorofMusicEducation,IllinoisStateUniversity,Normal,IL61790.
kamccor@ilstu.edu
5.00pm–5.30pm–Paper21musicALL - An Inclusive Music Project at Hazelwood School - a
school for young people aged 2-18 years with Sensory Impairment and Additional Complex Learning Needs
Julie McKenzie
BackgroundHowthisassetbasedprojectbeganintheclassroominresponsetotwo
talentedpupilswithSensory(visual/hearing)ImpairmentandAdditional
SupportforLearning(ASL)needs.Itwilldescribehowtheprojectis
developingandgrowingandhowthroughexperience,participationand
performanceisnowbringingtogetheroverahundredyoungpeople
fromboththeASLandmainstreamsectorsofeducation.
Aims• ��������Inclusion–bringmainstreamandASLpupilstogetherthrough
music.
• Transitiontopositivedestinations–ASLschoolleaversreturnas
rolemodelsandmentors.
• Increaseattainmentacrossthecurriculum.
• Partnershipworking–families,otherschools,widercommunity,
professionalorganisations
���
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Method
TheFrameworkofMusicSupportManyyoungpeopleinvolvedintheprojectrequiresupportinlifeto
carryouteverydaytasks.Itisthereforeessentialinorderforthemto
benefitandachievetheirmusicalbest,thatinamusicsettingsupportis
providedbyappropriatelytrainedpeoplewhobothunderstandthe
needsoftheyoungpeople,andarealsoaccomplishedmusicians.By
pupils,tutors,musicstudents,volunteersandprofessionalmusicians
workingtogetherandlearningfromeachotheraframeworkofmusic
supportisformedenablingallinvolvedtoaccessandengagewiththe
processofmusicmakingatwhateverlevelisrightforeachindividual.All
canthendevelopskills,increasetheirconfidenceandshinemusically.
ResultsEvidenceofthebenefitsthatareaccruingasaresultofusingthis
approachinasustainedwayarebeinggatheredthroughactionresearch
showinganincreasein:-
• confidence,selfesteem,language/communication
����youngpeoplewhorequireASLlearninganinstrumentandperforming
publicly
• familyinvolvementaroundmusic
• youngpeoplewhorequireASLbecomingrolemodels
• developmentofsocialandlifeskills
• youngpeoplewithandwithoutASLneedsformingfriendships
throughmusic
• sharingtalents
• engagementwithsociety
• workopportunitiesafterleavingschool
• society’sawarenessofthecapabilitiesofthoseinvolved
• betterinformedtutors
ImplicationsforASNEducation
YoungpeoplewithASLneedsshouldwithoutquestion,haveaccessto
highqualitymusiceducationopportunitiesequaltotheirmainstream
peers.TheseminarwillshowhowthroughTheFrameworkofMusic
Supportandbringingyoungpeopletogetheronaregularlongtermbasis
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frommainstreamandASLeducationsectorsbarriersarebrokendown,
greatthingsareachievedandtheendresultisthateverybodybenefits.
JulieMcKenzie-JulieMcKenzieisamusicteacherwithover30years
experienceofworkingineducation.
Shefirmlybelievesinanindividual’srighttomakemusic,toengagewith
musicalactivityinwhateverwaytheycan,andthateachpersonshould
begivenanequalopportunitytoaccesshighqualitymusicmakingand
performanceshouldtheywishtodoso.
JulieisthefounderofthecharitymusicALL(SCIO)SC046374basedin
HazelwoodSchool.Shehasfacilitatedthegrowthanddevelopmentof
thisinitiativewiththeaimofensuringmoreavailablehighqualitymusic
makingandperformanceopportunitiesforyoungpeoplewhorequire
additionalsupportforlearning.musicALLaimstoraiseawarenessin
societyoftheabilitiesandtalentsofyoungpeoplewithadditional
supportneeds.
JuliesitsontheExpressiveArtsNationalForuminEducationScotland.
julie@musicallhazelwood.org.uk
www.musicallhazelwood.org.uk
5.30pm–6.00pm–Paper22
The Rise of Disability as Identity and Culture: Implications for Music Educators and Researchers
Sierra Norris, MM, MT-BC
PhD student, University of Arizona Owner, Tucson Music Therapy
TheoreticalBackgroundManystudiesinthemusiceducationliteraturedescribeconcernsand
attitudesofeducatorstowardsstudentswithdisabilities,whilerelatively
fewstudiesexploretheactualbenefitofinclusionforstudentswithand
withoutspecialneeds.Althoughtheseattitudinalstudiesarenot
generalizable,theydoexposenegativestereotypesandlow
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expectationsofstudentswithdisability.Whileteacherandpeer
perspectivesareabundant,thevoicesofstudentswithdisabilityand
theirparentsarevirtuallyabsentfromtheliterature.
Furthermore,amajorityofmusiceducationresearchtakesa
functionalistormedicalperspectiveofdisabilitywhichfocuseson
managingorrepairinganincapacity.Thelanguageofresearchersreveals
apreferenceofabledbodiesoverdisabledones.Moreover,researchers
usedisabilityasadescriptivefactorthatoverridesallotheridentity
markerssuchasrace,gender,andclass.Theevidentdiscourseof
ableisminmusiceducationresearchisinstarkcontrastwithcurrent
trendsindisabilitystudiesandtheneurodiversitymovement.
AimThispresentationwillanalyzemusiceducationthroughadisability
studieslens,highlightcontemporarysocialmovementssurrounding
individualswithspecialneeds,anddiscusstheramificationsformusic
education/therapypractitionersandresearchers.
MethodThepresenterwillreviewthecontentandlanguageintheliteratureand
explorecurrentthemes,suchasempowermentandself-advocacy,in
disabilitystudies,theneurodiversitymovement,andothersocial
movementssurroundingdisability.Contrastingtheexistentliterature
withthecontemporarysocialmovements,thepresenterwillmake
recommendationsforresearchersandeducatorstobetterunderstand
andincludetheidentitiesandperspectivesofstudentswithspecial
needsintheirwork.
SummarySomerecommendationsinclude:
• Examiningbarrierstosuccessinmusiceducationforstudentswith
disabilities,
• Consideringpersonalbiasandthedisablingnatureofsome
teachingstylesandassessments,
• Extendingthescopeofresearchbeyondable-bodiedteachersand
“typical”peerstoconsiderexperiencesofstudentswithspecial
needsandtheirparents,
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• Rememberingpolicymakersandfamilymembersareconsumers
ofresearch,Analyzinglanguageinordertodecreaseableist,
deficit-focusedverbage,
• Engagingwithcontemporarysocialmovementsthathighlight
disabilityasidentityandculture,and
• Raisingexpectationsforstudentswithspecialneedsandusing
performanceasself-advocacy.
ConclusionsMusicclasscanbeanablingordisablingexperienceforstudentswith
disabilities.Itisanimperativesocialjusticeissuethatmusiceducators
andresearchersbreakdownbarrierstosuccessinmusicforthese
students.
SierraNorris-SierraNorrisisaboard-certifiedmusictherapist(MT-BC)
andregisteredMusicTogether®teacher.SheownsTucsonMusic
TherapyandispursuingaPhDinMusicEducationwithaminorin
CognitiveScienceattheUniversityofArizona.SheholdsaMasterof
MusicdegreeinMusicTherapyandFlutePerformancefromIllinoisState
UniversityandaBachelorofMusicdegreeinFluteandBassoon
PerformancefromtheUniversityofArizona,whereshegraduated
summacumlaudeandwasrecognizedastheOutstandingSeniorofthe
CollegeofFineArts.Herresearchinterestsincludeapplyingcommunity
musictherapyanddisabilitystudiesperspectivesinpediatriconcology,
fostercare,studiomusicinstruction,andthedisabilitycommunity.
www.tucsonmusictherapy.com
sierra.n.norris@gmail.com
6.00pm–7.00pm–RoundTable
Interdisciplinary dialogues in music, health and wellbeing
Giorgos Tsiris (Chair), Queen Margaret University & Nordoff Robbins
Dr Philippa Derrington, Queen Margaret University
Pete Sparkes, Drake Music Scotland
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Dr Neta Spiro, Nordoff Robbins & University of Cambridge
Dr Graeme Wilson, University of Edinburgh
Background
Inrecentyears,therehasbeenanincreasedinterestininterdisciplinary
dialogueandcollaborationwithintheareaofmusic,healthand
wellbeing.Thisinterestisreflectedin,andhasledto,collaborative
practiceandresearchinitiatives,aswellasemergingmulti-professional
networksandrelatedconferencethemes.Interdisciplinarydialogue,
however,remainsadifficulttask;itrequireslearning(andre-learning)of
concepts,waysofthinkingandpracticing,whileitisoftenunderpinned
bydifferent(and,attimes,competing)professionalvocabularies,
frameworksandagendas.Althoughthesechallengescreatebarriersto
optimalinterdisciplinarydialogue,theyarerarelydiscussed.
AimThisroundtableexploressomecommondifficulties,challengesand
pitfallsininterdisciplinarydialogue,withtheaimtoidentifyemerging
opportunitiesandareasforfurthermutualexchangeanddevelopment
withinmusic,healthandwellbeing.
MethodTheroundtablebringstogethermultipleperspectivesofpresentersfrom
diverseprofessionalbackgrounds(toincludemusictherapy,psychology
ofmusicandcommunitymusic).Basedonexamplesfrompresenters’
workandwithafocusontheUKscene,theroundtablewillconsider
somedifficulties,challengesandpitfallsininterdisciplinarydialoguewith
regardtofiveinter-relatedareas:1)academictrainingofmusicand
healthpractitioners,2)interdisciplinarypracticeprojects,3)
collaborativeresearch,4)academicpublishing,and,5)professional
expectations.Drawingfromtheirdiverseexperiencesandareasof
expertise,presenterswillposesomecriticalquestionsformingthebasis
foranopendiscussionwiththeaudience.
ResultsandconclusionsByexploringpotentialbarrierstointerdisciplinarydialogue,this
roundtablewillraiseawarenessofthedifficulties,challengesandpitfalls
involved.Lookingaheaditwillalsopointtowardsopportunitiesfor
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developmentandhighlightconsiderationsforfuturecollaborationsin
practice,research,andtraining.
GiorgosTsiris-GiorgosTsirisisaLecturerinMusicTherapyatQueen
MargaretUniversity,Edinburghandconductshisdoctoralresearchat
NordoffRobbins(Goldsmiths,UniversityofLondon).Heisthefounding
editor-in-chiefofApproaches:AnInterdisciplinaryJournalofMusic
Therapy,aCommissioneroftheISMECommissiononSpecialMusic
EducationandMusicTherapy,andaKnowledgeExchangeFellowatthe
CentrefortheArtsasWellbeing,UniversityofWinchester.
PhilippaDerrington-DrPhilippaDerrington,isaSeniorLecturerinMusicTherapyandProgrammeLeaderoftheMScMusicTherapyat
QueenMargaretUniversity,Edinburgh.Philippahasworkedasamusic
therapistinvarioussettingswithadults,childrenandadolescents,
includingthefieldofmentalhealthandlearningdisabilities.Shesetup
andestablishedapermanent,full-timepostinasecondaryschool,which
wasthefirstofitskind,andwhereshedevelopedprovisionforyoung
peoplewithemotionalandbehaviouraldifficulties.Thislaterbecame
herresearchspecialism.PhilippawastheleadresearcherfortheMusic
TherapyCharity’sYouthatRiskproject(2009-2012).Throughthisshe
completedherPhDentitled:‘MusicTherapyforYouthatRisk:An
ExplorationofClinicalPracticeThroughResearch.’Sheisco-editorofthe
bookMusicTherapyinSchools(JessicaKingsley,2012)andisAssociate
Editoroftheopenaccess,peer-reviewedjournalApproaches:An
InterdisciplinaryJournalofMusicTherapy.
PeteSparkes-PeteSparkeshasledtheartisticprogrammeofDrake
MusicScotlandsince2010,thisperiodincludinghighprofilenew
commissionsincollaborationwiththeScottishChamberOrchestra,
RoyalScottishNationalOrchestra,NationalYouthJazzOrchestraof
ScotlandandTechnophoniabyOliverSearlepartofthe2012Cultural
Olympiad.Hisspecialismisworkingcreativelywithchildrenandadults
withAdditionalSupportNeeds–includingtheuseofmusictechnology
andotherinnovativetoolslikeFigurenotesnotationfromtheResonaari
SchoolinFinland.Hedeliverstrainingandprofessionaldevelopmentfor
DrakeMusicScotlandandisindemandasaspeakeratmusiceducation
conferences.Healsoco-leadsacourseattheRoyalConservatoireof
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ScotlandwithcomposerOliverSearle:CreativeCompositionwithDrake
MusicScotland.PetewasEducationOfficeroftheScottishChamber
Orchestrafrom2002-2005andhasdeliveredcreativeprojectswiththe
ScottishBookTrust,ScottishChamberOrchestra,BBCScottish
SymphonyOrchestra,ArtlinkCentral,andJessie’sFund.
NetaSpiro-DrNetaSpiro,PhD,isHeadofResearchatNordoffRobbins,London,UKandamemberoftheFacultyofMusic,Universityof
Cambridge,UKwheresheteachesmusicpsychology,musictherapyand
musicinhealthresearch.
GraemeWilson-DrGraemeWilsonisaResearchFellowattheReid
SchoolofMusic,UniversityofEdinburgh,developingpsychologicaland
practice-basedresearchonimprovisationandstudyingtheapplicationof
musicalparticipationtoimprovewellbeing.HemanagestheScottish
MusicandHealthNetworkandimplementedConcurrent,anetworkfor
thestudyofinterdisciplinaryimprovisation.Hehaspublishedwidelyasa
psychologistonimprovisationaswellasonhealth,families,identities
anddiscourse.AfoundingmemberofGlasgowImprovisersOrchestra,
hissaxophoneplayingfeaturesonover25CDreleases;hehas
performedwithmusiciansincludingFredFrithandJulianSiegel,and
collaborateswithvisualartistCathKeay.Hiscommissionedworksfor
saxophonequartet,jazzorchestraandlargeimprovisingensemble
exploreinteractiveprocessesandselectedtextsasreferentsfor
collectiveimprovisation.
GiorgosTsiris(Chair),QueenMargaretUniversity&NordoffRobbins
gtsiris@qmu.ac.uk
DrPhilippaDerrington,QueenMargaretUniversity
pderrington@qmu.ac.uk
PeteSparkes,DrakeMusicScotlandpetesparkes@drakemusicscotland.org
DrNetaSpiro,NordoffRobbins&UniversityofCambridgeneta.spiro@nordoff-robbins.org.uk
DrGraemeWilson,UniversityofEdinburghGraeme.Wilson@ed.ac.uk
DAY TWO Thursday 21st July 2016
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7.00pm–8.00pm–FreeTime8.00pm–11.00pm–CeilidhBytheBeach
The Wash House, Portobello.
CometoTheWashHouse,Portobello,EH151APforatraditional
ScottishCeilidhincludingtraditionalmusicanddancing….Andyoucan
joinintoo!
JointlywiththeCommunityMusicActivityCommissionalsotakingplace
inEdinburgh,weinviteyoutodancethenightawayinatraditional
Scottishway!
8.00pm-8.45pmCeilidh
8.45pm-9.15pmMusicalinterludebysomelocalyoungmusicians
9.15pm-10.15pmCeilidh
10.15pm-10.30pmbreakwithalittlemusicalinterlude
Thenightwillfinishat11pm.
Therewillbeabaratthevenue,andtherearealsomanyothergreat
pubsandbarsinPortobellotohaveanicedrinkbythesea!
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END OF DAY TWO
#ISMESpecialEdMT 89
DAY Three Friday 22nd July 2016
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DAYTHREE–Friday22ndJuly20168.00am–8.30am Paper23-LIQUIDVIBRATIONSapracticeofunderwater
deeplistening–JoelCahen
8.30am–9.00am Paper24-MusicProgramswithinSchoolsfortheDeaf:A
PreliminaryInvestigationintotheRoleofMusicinDeaf
Culture–JaclynF.Paul
9.00am–9.30am Paper25-TheChoirBehindtheWire:Musictherapyfor
inmaterehabilitation–LornaSegall
9.30am–10.00am Paper26-JoiningForces:ImpactsofMusicEducationand
MusicTherapyCollaborationinanEvent-based
IntergenerationalProject-Dr.MelitaBelgrave,Dr.Charles
Robinson,Ms.LisaTironi
10.00am–10.30am Paper27-NICU-MTforPrematureInfants:ASurvey
ShowingThatResearchandTrainingLeadtoClinical
Specialty-JayneM.Standley
10.30am–11.00am CoffeeBreak
11.00am–11.30am Paper28-PreparingStudioMusicTeacherstoTeach
StudentswithAutism-ErinParkes
11.30am–12.00pm Paper29-ICanPlay!–Digitally-basedmusickingwith
childreninneedofspecialsupport-BoNilsson
12.00pm–12.30pm Paper30-PLAYSPACEMUSIC–Improvisationworkshopfor
musiciansanddancerswithandwithoutdisabilities-Shirley
Salmon
12.30pm–1.00pm Paper31-ACaseStudyComparisonofaMusicTherapist
andAMusicEducatorinanAmericanPublicSchool-
JacquelineC.Smith
1.00pm–1.30pm Paper32-SpanishMusicEducationMajors'ComfortLevels
toTeachMusictoStudentswithSpecialEducationNeeds–
FredSpano
1.30pm–2.30pm LUNCH
2.30pm–3.15pm Workshop1-mUsiKcare:ApplicationsfromaMusicand
WellnessOlderAdultPianoProgram-VickiStevensMcVay,
OliviaSwedbergYinger,LoriFogusGooding
3.15pm–4.00pm Workshop2-KeepaBeat:TheImpactofRhythmon
AttentionBehaviorsofChildrenintheClassroomGroup
Setting-KamileGeist,EugeneGeist
4.00pm–4.30pm Paper33-ActualisationTheHealingEffectsOfMusicIn
ModernEducation-ToropovaAlla,LvovaTatiana
4.30pm–5.00pm CoffeeBreak
5.00pm–5.30pm Paper34-Singingandlearning:Musicininclusiveearly
childhoodsettings–PotheiniVaouili
5.30pm–6.15pm Workshop3-FiguringOut’Figurenotes:Rewardsand
ChallengesinImplementingFigurenotesNotationinthe
GeneralMusicClassroom-NancyO'Neill,KimberlyMcCord
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6.15pm–7.00pm Workshop4-ADAPT:AComprehensiveModelforSpecial
MusicEducationinaPrivateLessonSetting-ErinParkes
7.00pm–7.45pm Workshop5-Makingmusicinaself-determinedway:Ideals
ofInclusioninmusicteachingpractice-RobertWagner
7.45pm–8.30pm Workshop6-STOP:EnhancingExecutiveFunctionsthrough
MusicLearning–ElaineBernstorf
EndofDayThree
RoomsareindicatedintheLefthandcolumn.
SouthHallandKirklandSuite
#ISMESpecialEdMT 92
8.00am–8.30am-Paper23
LIQUID VIBRATIONS a practice of underwater deep listening
Joel Cahen, Co-founder and Artistic Director Liquid Vibrations
LiquidVibrationswasformedasacontinuationoftheunderwatersound
artconcertseriesbyJoelCahencalledWetSounds,whichbegantouring
UKpoolsin2008.AdèleDrake,FounderandPatronofDrakeMusicin
Scotland,hadmadetheconnectionbetweenthepropertiesof
underwatersoundperceptionandthepotentialbenefitsthiscouldhave
onchildrenwithspecialandcomplexneeds.TogetherwithJoelCahen
theyestablishedanorganisationin2009thataimstoprovideasetting
forrelaxationandlearninginhydrotherapypoolsbasedinthe
combinationofdeeplisteningandaquaticbodytherapy.
Thispaperpresentsourwork,itscontext,aimsandconclusions.
OurpracticeattheschoolsiscomposedoftrainingthecarersandTAsin
thecorrectwaytoholdthechildreninwater,whichbestfacilitatesdeep
listeningandconductingtenlisteningsessions.Thelackofverbalisation
thatmostoftheparticipantsexhibitcreatesdifficultiesinfullyassessing
theeffectthesessionsontheirwell-being.
TheLiquidVibrationsteamhasconductedcarefulobservationineachof
thesessionsprovidedsince2010.Theseobservationswereconducted
byfilmingtheactivitywithtwoormorecameras;interviewingthe
carers,theheadmasterandthechildrenthemselveswherepossible;and
sendingoutfeedbackformstotheparents.
Thequestionsthatguidedtheobservationwere:
Dothelisteningsessionsaffectapositivechangeintheparticipants’
movementandawareness?Isthereadiscernableprogression
throughoutthesessions?
Dothesessionscontributetothedevelopmentofmeaningful
communicationandinteractionwiththeirsurroundings?
LIQUIDVIBRATIONS3
Wehavefoundthatoveralltheworkhashadsignificantpositiveresults
inchangingthephysicalstateoftheparticipantsfromtensetorelaxed,
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whichinturnenablesfreedomofmobilityandrelaxationofmind.Thisis
hasbeenexpressedascuriousity,asinintentionalimmersionofthe
headinthewatertolistenbetter,asrelaxationofmuscles,vocalisation,
meditativestillnessandanobservablegeneralstateofwellbeing.
Weseeourpracticeasanimportantpartofmusictherapyasittrains
andencourageslisteningandintrospectionenabledbyrelaxationand
hydrotherapy.InformedbytheElectro-acousticmusiclistening
strategiesanddeeplisteningtechniques,itenrichestheparticipant’s
soundpalatewhileincreasingtheircapacityformaintainingattentionto
theirenvironmentandthemselves.These,weargue,areanimportant
basisformeaningfulself-expressionandsocialinteraction,musicalor
otherwise.
JoelCahen-BasedinLondonandwithabackgroundinsounddesignandmusicforstageandscreenproductionsaswellasnewmedia,his
currentinterestsinterrogatetheaffectofsoundinvariousspaces
(physical,culturalandthebody).Since2008,hehasbeenperforming
worldwidewithWetSounds,anunderwaterconcertprojectthatsonifies
bothwetanddryareasoftheswimmingpools;ScrapClub,thepublic
Destructivistactivity,wheretheaudiencesmashupvariousstuffwith
sledgehammers;Cacophonic!,weeklyliveabstractmashupson
Resonance104.4fmLondon;andproductionsforInterzoneTheatre,
audiobasedaugmentedrealitytheatreinpublicspacesofthecity.
Joelco-foundedtheEnglandregisteredcharityLiquidVibrationswith
AdeleDrake(FounderofDrakeMusic)andbegantrainingschoolstaff
withunderwaterlisteningsessionsforchildrenwithspecialneedsat
SpecialSchools.HisworkhasbeenpresentedatISEA,AVFestival,ATP,
HelsinkiFestival,TheRoyalNeurologicalHospital,andvarioussymposia,
musicandartfestivalsworldwide.
www.newtoy.org
www.joelcahen.wordpress.com
info@liquidvibrations.org.uk
www.liquidvibrations.org.uk
8.30am–9.00am–Paper24
Music Programs within Schools for the Deaf: A Preliminary Investigation into the Role of Music in Deaf Culture
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Jaclyn F. Paul Doctoral Candidate and Teaching Assistant at Texas Tech
University
InA.A.Darrow’sprominentstudyinregardstomusicandtheDeaf
culture,ithasbeendeterminedthat“most[Deafindividuals]believe
thatmusicinstructionshouldbeoptionalfordeafstudents...andDeaf
individualsdonotparticipatetothedegreethathearingindividualsdoin
mostcommonritualusesofmusic”(Darrow,1993).However,arecent
investigationonthematterhasrevealedthatoverrecentyearsthere
severaldevelopedmusiceducationprogramsintheUnitedStateshave
comeintoexistencewithinthecontextofaSchoolfortheDeaf.These
musicprogramswithinSchoolsfortheDeafstriveforawell-rounded
musiceducationforDeafstudents,whilealsoprovidingstudentswitha
musicaleducationthatisculturallyrelevanttotheDeafcommunity.
Therefore,thisqualitativestudywillinvestigatetheevolutionand
presentationoftwomusicprogramswithinthecontextofaSchoolfor
theDeaf:aNorth-Easternprogramwhichspecializesinabandprogram
fortheDeaf,andaNorth-Westernprogramwhichspecializesinachoral
programfortheDeaf.
Thisstudywillconsistofinterviewsfrombothteachersandstudentsto
determinetheevolutionandcurrentimplementationofamusic
educationprogramwithinaDeafculturalenvironment.Theresultsof
thisstudywillbecodedusingCreswell’squalitativeanalysismethod.
Usinggroundedtheoryresearchthisstudywillcomparethetwomusic
programsintheirevolutionandcurrentpracticestodeterminehowa
musicprogramcanplayanimportantroleforboththemusicandDeaf
communities.Aswell,thisresearchcanassistbothmusiceducatorsand
teachereducatorsasatheoryofinclusionisdevelopedandattemptsare
madetobreakdownbarriersbetweenDeafcultureandthemusic
community.
Thegoalofthisstudyistounderstandhowthisinformationwillprovide
currentmusicteacherswiththenecessaryelementstopromoteand
supportmusicinstructioninaDeafculturalenvironment.Aswell,by
understandinghowmusiccanberelevantwithintheDeafcommunity,
theresultsofthisstudycanbeusedtohelpmusicbecomeculturally
appropriateandrelevantforDeafstudents.Byunderstandinghowmusic
canbehistoricallyrelevantwithinaDeafcommunity,itisbelievedthat
musicmayalsoholdthekeytopromotinginclusionwithinthe
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mainstreamedmusicclassroominwhichthereareDeafandhearing
students.
KeywordsSpecialeducation,deaf,Deafculture,socialjustice,developingmusic
program,choir,band,inclusion,groundedtheory,qualitative
JaclynPaul-JaclynF.PaulisadoctoralcandidateandteachingassistantatTexasTechUniversityinLubbock,Texas.Inthepast,shehasservedas
bothageneralmusicteacherandbanddirectorforseveralschool
districtsinOntario,Oklahoma,andWestTexas.Asshecompletesher
finalyearatTexasTech,Paulhasfocusedherresearchintheareaof
inclusion,Deafcultureandeducation,andteacherpreparationinspecial
education.
jaclyn.f.paul@ttu.edu
9.00am–9.30am–Paper25
The Choir Behind the Wire: Music therapy for inmate rehabilitation
Lorna E. Segall, PhD, MT-BC
AlthoughtheUnitedStatesaccountsforonly5%oftheglobal
population,itholds25%oftheworld’sinmates.TheU.S.inmatecensus
hasincreased500%overthepast40years.Sociologistsattributethis
growthtolegislativeandpolicychangesresultinginmandatory
convictionsandlengthysentencingpractices.Thesemodificationshave
incitedprisonovercrowding,institutionalfinancialburdens,and
economichardshipsforfamiliesandcommunities.Aspunitivethinking
giveswaytorehabilitativephilosophy,providingservicesforinmatesis
imperativeinreducingrecidivisticbehaviors.
Counselingprogramsintoday’sprisonsmayincludetalk-basedgroup
therapy,peersupportgroups,andeducationcourses.Musictherapyhas
alsodemonstratedpromisingoutcomesinthecorrectionalenvironment.
InthisstudyIexploretheroleofexecutivefunctionandperceivedlevels
ofstressamonginmates.Thesedependentvariableswerechosenas
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theypertaintoone’sabilitytosetgoals,persevere,andthinkcreatively
–necessaryskillsforasuccessfullife.Stress,too,playsaprominentrole
bothinsideandoutsideofprisonmakingitarelevantapplicationforall
inmates.
Iinvestigatethishypothesisbymakingconnectionsthroughagroup
singingandtransferoflearningintervention.Theobjectiveofmy
researchwastodeveloplifeskillsapplicabletobothinsideandoutside
prisonwalls,therebyfacilitatingtherapeuticvalueforanyinmate
regardlessofsentencelength.Researchsuggeststhat,whencompared
toothertherapies,musictherapymaystrengthenmasteryof
knowledge,encourageactiveparticipation,increaseprogramretention,
andfacilitateuniqueopportunitiesforgrowth.Thetablebelowoutlines
someoftheobjectivesandoutcomesidentifiedforthisstudy.
Implicationsformusictherapy–Manyinmateswillhavetheopportunity
tobecomecontributingmembersofsocietyatsomepoint.Itiscrucialto
prepareeachofthemforasuccessfulre-entryexperience.Music
therapy’saccessibilityforgroupworkwithdiverse
MusicGoals
Non-MusicGoals
�
Partsinging/SinginginunisonUsingthesinger’sbreathDynamics
Performance
Challengingrhythms/melodiesSongwriting/lyricanalysis
�����
Activelisteningskills
Increasetolerance/acceptanceofothersRapportbuilding
Socialawareness
Appropriateself-expression
Stressmanagement
������Segall–MusictherapyandInmateExecutiveFunctionandStress
3backgroundsandactiveparticipationmakesitalogisticalandfeasible
optionresourceforthispopulation.Asthecriminaldemographic
continuestogrow,musictherapistsmayfindthemselvesworkingwith
inmatesinprisons,work-releasecenters,orprobationprograms.Itis
criticalthatevidence-basedresearch,globalandcommunity
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collaboration,andinformationsharingoccursomusictherapistshave
theresourcestobesuccessfulinthisenvironment.
LornaSegall-LornaE.Segall,PhD,MT-BCearnedherBachelor’sinVoice
Performance,MastersinMusicTherapy,andPhDinMusicTherapywith
acertificateinagingstudiesfromtheFloridaStateUniversity.Shealso
earnedaMastersinVoicePerformancefromLouisianaStateUniversity.
PriortoreturningtoFSUforherPhDprogram,shespentsixyears
workinginthehospicefield.
Dr.Segallhasworkedwiththehospice,medical,andcorrections
populations.In2014shefoundedtheBehindtheWireChoiratWakulla
CorrectionalInstituteinCrawfordville,FL.Herresearchfocusesare
musictherapyintheprisonpopulation,musictherapyineldercare,and
musictherapyatendoflife.Dr.SegallreceivedtheMaryJ.Hilliard
awardscholarshipinthespring2016.Inthefallof2016,shewilljointhe
facultyattheUniversityofKentuckyasanassistantprofessorofmusic
therapy.
lornasegall@yahoo.com
9.30am–10.00am–Paper26
Joining Forces: Impacts of Music Education and Music Therapy Collaboration in an Event-based Intergenerational Project
Dr. Melita Belgrave –Associate Professor of Music Therapy
University of Missouri-Kansas City
Dr. Charles Robinson – Professor of Music Education – University of Missouri-Kansas City
Ms. Lisa Tironi – Elementary Music Educator – Sunset Ridge
Elementary School – Overland Park, KS
Musiceducatorsandmusictherapistsarecollaboratingtodevelopand
implementintergenerationalmusicexperiencesthatbringtogether
youngstudentsandolderadults.Thepurposeofthisstudywasto
examinerecollectionsofchildrenparticipantsandmusictherapystudent
facilitatorsregardinganevent-basedintergenerationalmusical
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collaboration.Collegiatemusictherapystudentfacilitators(n=11)and
4thand5thgradechildren(n=60)inintactpublicschoolchoirand
percussionensemblesparticipatedinthisstudy.The8-weekproject
includedtheelementaryschoolensemblesandanintactmusic
ensembleofolderadultscalled“ForeverYoung.”Theexperience
included:(a)independentpreparationofmusicalpieces;(b)pre-
workshopvideoexchanges;(c)aone-dayintensiveworkshop/rehearsal;
and(d)asharedpublicperformance.Participants’posthocreports
recallingaspectsoftheexperiencewerecollectedusingresearcher-
developedwrittensurveytools.MusicTherapyfacilitatorsnoted“two
favoriteaspects”ofthecollaborativeproject,andrespondedtothe
question,“Howwillthisexperienceshapeyourfutureworkasamusic
therapist?”.Elementaryschoolparticipantsnoted“twofavorite
memories”andansweredthequestion“Whatwasthemostimportant
thingyoulearnedfromtheexperiencewithForeverYoung?”.Acontent
analysiswasconductedonsurveyresponsesfrombothgroups.Results
indicatedchildren’sfavoritememoriesfellintothreebroadareas:Pre-
workshopvideoexchanges,workshop/rehearsalactivities,andpublic
concertperformance.Calculatedpercentagesoftotalcommentsfor
eachcategoryresultedinthefollowingdistributionsforchildren’s
responses:Workshop/RehearsalActivities(80%),ConcertPerformance
(18%),andVideoExchanges(2%).Collegestudentresponses(N=22)
yieldedthesedistributions:Workshop/Rehearsalactivities(99.5%),
ExchangeVideos(.5%),andConcertPerformance(0%).Children’s
workshop/rehearsalresponses(n=96)werefurthercategorizedas
musicalactivities(59%),food(15%),andpersonalinteractions(26%).
Collegestudents’workshop/rehearsalresponses(n=21)were
categorizedasintergenerationalinteractions(55%),musicalactivities
(36%),andmusictherapyskills(.5%).Children’sresponsesto“most
importantthinglearned”weresomewhatevenlydistributedacrossfour
categories:thepossibilityoflifelongparticipationinthearts;enhanced
respectandunderstandingofolderadults;musicormusicaltasks;and
lifelessons.Collegestudents(n=11)indicatedthattheexperience
resultedinwillingnesstoleadfuturemixedpopulationand
intergenerationalmusicalcollaborations,improvedmusictherapyskills,
andshapinginfluenceonpersonalphilosophy.Thesefindingssupport
theefficacyofastructuredevent-basedintergenerationalmusic
collaboration.Itisinterestingtonotethatbothgroups’favored
experienceswerethosefromtheworkshop/rehearsal,andthepre-
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workshopvideosandthepost-workshoppublicperformancewerekey
elementsthatstructuredtheoverallexperience.
MelitaBelgrave-MelitaBelgravereceivedherbachelor’sdegreein
musictherapyfromMichiganStateUniversity.Shealsoearnedher
master’sinmusictherapy,acertificationinagingstudies,andaPh.D.in
musiceducationwithanemphasisinmusictherapyatFloridaState
University.Belgravehasworkedasamusictherapistinspecial
education,mentalhealth,rehabilitation,hospice,geriatric,and
intergenerationalsettingsthroughoutTexasandFlorida.Herresearch
interestsaremusictherapywitholderadultsandintergenerational
programming.Shehaspresentedatregional,national,andinternational
conferences,andherresearchhasbeenpublishedintheJournalof
MusicTherapyandMusicTherapyPerspectives.Sherecentlyco-
authoredthetextMusicTherapyandGeriatricPopulations:AHandbook
forPracticingMusicTherapists.Hercurrentserviceincludesworkingas
anat-largememberfortheAcademicProgramApprovalCommitteeand
co-chairoftheDiversityandMulticulturalismCommitteeforthe
AmericanMusicTherapyAssociation.
CharlesRobinson-CharlesRobinsonisprofessorofmusiceducationat
theUMKCConservatoryofMusicandDance.Heearnedundergraduate
anddoctoraldegreesinchoralmusiceducationfromFloridaState
Universityandthemaster'sdegreefromCaliforniaStateUniversity,Long
Beach.Robinson’steachingopportunitiesspanawidevarietyofmusic
methodsandperformanceareasincludingbothgraduateand
undergraduatecourses.Dr.Robinsonisanactiveconductor/clinicianfor
honorchorusesthroughouttheUnitedStates,andafrequentpresenter
ofworkshopsformusiceducators.Hismusicresearchfocusesonchoral
performanceevaluation,musicpreference,choralconducting,and
inclusion.RobinsonhasbeentherecipientoftheMurielMcBrien
KauffmanExcellenceinTeachingAward(1991&1999),andKauffman
MeritoriousServiceAward(2006&2013)fortheUMKCConservatoryof
MusicandDance,andwastherecipientoftheMissouriChoralDirectors
AssociationLutherT.SpaydeAwardforsignificantcontributionsto
choralmusicinMissouri.
LisaTironi-LisaTironiistheelementarymusicspecialistatSunsetRidge
ElementarySchoolintheBlueValley(KS)SchoolDistrictwhereshe
teachesmusictomorethan500studentsfromKindergartenthrough5th
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grade.Previously,shewasahighschoolchoralmusiceducatorin
OklahomaandMissouri.TironiearnedtheBachelorofMusicEducation
degreefromMichiganStateUniversity,andtheMastersinMusic
EducationattheUniversityofTulsa.Sheearnedlevel1and2
certificationinOrffSchulwerk,WorldMusicDrummingcertification(2
levels),andstudiedConversationalSolfegeandFirstStepsinMusicwith
Dr.JohnFierabend.Tironi’sensembleshaveperformedwiththe
UniversityofMissouri-KansasCityConservatoryChoralEnsembles,and
withtheKULandonCenterforAging’s“ForeverYoung”olderadult
choir.Currently,Ms.TironiservesasPresidentoftheHeartofAmerica
chapteroftheAmericanOrffSchulwerkAssociation.
Dr.MelitaBelgrave-melitajean@aol.com
Dr.CharlesRobinson-robinsonc@umkc.edu
Ms.LisaTironi-LTironi@bluevalleyk12.org
10.00am–10.30am–Paper27
NICU-MT for Premature Infants: A Survey Showing That Research and Training Lead to Clinical Specialty
Jayne M. Standley, PhD, MT-BC, NICU-MT
Sincethefirstmusictherapyresearchstudywithprematureinfantsin
1989(Caine,1991),theclinicalspecialtyofthisveryearlydevelopmental
interventionhasevolved.Alloftheresearchresultsinthisareashow
positiveoutcomesduetomusictherapythatenhancethemedical
treatmentoftheseveryfragile,neurologicallyimmatureinfants
(Standley,2012).NeonatalIntensiveCareUnitMusicTherapy(NICU-MT)
nowexistsasaspecializedclinicalserviceforprematureinfantsand
othercriticallyillneonates.Acertificatetrainingprogramforadvanced
skillsisdirectedbytheInstituteforInfantandChildMedicalMusic
TherapywhichoriginatedatFloridaStateUniversityandhasnow
expandedtoanetworkoffourmajoruniversitieswiththeiraffiliated
hospitals.Itisthefirstinvitrospecializedclinicalskillstrainingprogram
inthefield.Thissurveyshowedtherearenowover50NICU-MT
certificantstrainedinevidence-basedproceduresthathavestarted
NICU-MTclinicalprograms.Mostareemployedfull-time.Twoofthese
programsreceivereimbursementfromthirdpartypayers.TheU.S.isthe
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mosthighlydevelopedcountryemployingNICU-MTsforservicesto
prematureinfants.
JayneStandley-JayneM.Standley,Ph.D.,MT-BCisaRobertO.Lawton
DistinguishedProfessoratFloridaStateUniversitywithappointmentsin
theCollegesofMusicandMedicine.Herresearchemphasesaremedical
musictherapyandMTintheNeonatalIntensiveCareUnit.Standleyis
DirectoroftheNationalInstituteforInfantandChildMedicalMusic
Therapy,anetworkaffiliationofuniversitiesandmedicalcentersto
promoteresearchandtraininginNICU-MT.TheInstitutehastrained
hundredsofmusictherapists,neonatologistsandneonatalnursesfrom
aroundtheworldintheclinicalspecialtyofevidence-basedNICU-MTfor
prematureinfants.SheiswidelypublishedininternationalMTand
medicaljournals.Standleyisauthorofover30refereedresearch
articlesonMedicalMTforprematureinfantsandco-authorofthebook,
MusicTherapyforPrematureInfants:ResearchandDevelopmental
Interventions,2nded.
JayneM.StandleyRobertO.LawtonDistinguishedProfessor
CollegesofMusicandMedicine122CopelandSt.
FloridaStateUniversityTallahassee,FL32306-1180
850.644.4565(PH)jstandley@fsu.edu
DirectorofNationalInstituteforInfantandChildMedicalMusicTherapy
http://www.music.fsu.edu//Areas-of-Study/Music-
Therapy/Certifications/NICU-MT
COFFEE BREAK 10.30am – 11.00am
11.00am–11.30am–Paper28
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Preparing Studio Music Teachers to Teach Students with Autism
Erin Parkes, PhD., Founder and Executive Director of Lotus
Centre for Special Music Education
Diagnosesofautismspectrumdisorderareontherise,withcurrent
estimatesat1in68intheUnitedStates.Researchinmusiccognitionhas
demonstratedastrongproclivitytowardsmusicinpeoplewithautism.
Learningamusicalinstrumentcanbeasignificantaccomplishmentand
enjoyableactivityforpeoplewithautism.However,themajorityof
studiomusicteachershavereceivedlittleornotrainingonhowto
addressthemanyandvariedchallengesofteachingstudentswith
autism.Thislackoftrainingcanleadtopoorattitudestowardsaccepting
studentswithautismorlessthanadequatemusiceducationifthe
appropriateeducationalenvironmentisnotdeveloped.Theobjectiveof
thisresearchwastodeterminetheeffectivenessofatraining
interventionontheknowledgeandattitudesofstudiomusicteachers.
Thetrainingconsistedofatwo-daytrainingworkshoponteachingmusic
tostudentswithautismfollowedbythreehoursoflessonobservation
withstudentsacrosstheautismspectrum.Datawascollectedthrough
pre-andpost-testquestionnaires,dailyexperiencelogs,interviewsand
informaldiscussion.Resultsdemonstratethatthetrainingintervention
waseffectiveinimprovingparticipantknowledgeandattitudestowards
teachingstudentswithautisminaprivatemusicstudiosetting.
Keywords-Musiceducation,autism,teachertraining,specialeducation
ErinParkes-ErinParkesisthefounderandexecutivedirectorofLotusCentreforSpecialMusicEducation,anot-for-profitorganization
dedicatedtodevelopinganddeliveringmusiceducationprogramsfor
peoplewithspecialneeds.Dr.Parkesreceivedherdoctorateinmusic
educationfromMcGillUniversitywhereherresearchwasontraining
privatestudiomusicteacherstoworkwithstudentswithautism
spectrumdisorder.Dr.Parkesisanactiveresearcherandclinicianwho
strivestoincreaseaccesstoevidence-basedspecialmusiceducationfor
alllearners.Shealsocontinuestoteachstudentsofallagesandall
abilities.
www.lotuscentre.net
erin@lotuscentre.net
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11.30am–12.00pm–Paper29
I Can Play! – Digitally-based musicking with children in need of special support
Bo Nilsson and
Ida Westberg (not attending)
Thispresentationhighlightspreliminaryresultsfromanongoingaction
researchprojectinaSwedishprimaryschool.Theaimoftheprojectisto
developandtestdigitally-basedmusicalsettingswithyoungchildrenin
needofspecialsupport.Computers,iPadsandsynthesizerswereusedin
ordertofacilitateforchildrenwithphysicalimpairmentstoperformand
createmusic,aloneorinsmallgroups.
Thetheoreticalbackgroundoftheprojectistobefoundinsociocultural
educationaltheories,healththeoriesandmusicology.Toengagein
musickingistotakepartinanykindofmusicaleventssuchas
performing,listening,practisingorprovidingmaterialformusical
activities.TheZoneofProximalDevelopmentdescribeshowthelearner
withguidancecandevelopinsocialinteractionwithmorecompetent
peers.Physicalandpsychologicaltoolsmediatetheworldtoindividuals
engagedinpracticalactivitiessuchasmusicking.
Theresearchmethodcanbedescribedasaformofactionresearch,
performedincollaborationbetweenamusiceducatorandthe
researcher,inspiredbyethnographicalmethods.Datawascollected
mainlythroughparticipantobservationsandfieldnotes.Passagesof
audio-andvideo-recordingsandfieldnotesweretranscribedand
analyzedbytheresearcherandthemusiceducatorusingaqualitative
methodology.
Preliminaryresultsofthestudydemonstratethatevenveryyoung
childrenarequitecapabletohandledifferentdigital-basedinstruments
andquicklylearnhowtousetheseforplayingandcreatingmusic.Open-
endedappsseemedtocatchinterest,whereasparticipantsinsome
casessoonlostinterestin‘ready-made’apps.Someoftheparticipants
developedtheirmusicalknowledgeusingacombinationofFigureNotes
anddigitalinstruments.Singingintoanappwithautotuneinspired
childrentosingandusetheirvoicesinnewways.
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Theresultofthestudyimplicatesthatamusicalsettingshouldbe
regardedasacombinationofcultural,musical,technical,physical,
psychologicalandpersonalresources.Theexploreddigitaltoolsfor
performingandcreatingmusicwerefoundtoenhanceautonomyand
latitudewithchildreninneedofspecialsupport.Thismightpossiblybe
ofevengreaterimportanceforthoseoftheparticipatingchildrenwith
Swedishastheirsecondlanguage.Playingmusicmeanslearning,
masteringanddevelopingrelationshipswithmusic,technologyand
certainlywithothermusicians.Furthermore,toparticipateinmusicking
andtolearnmusiccreatesasenseofownershipthatholdsgreat
importancefortheindividualnotonlyfromaneducational,butalso
fromademocraticperspective.
BoNilsson-DrBoNilssonreceivedhisdoctorateinMusicEducationat
Malmö Academy of Music, Lund University. Bo is Reader in music
education at Faculty of Fine and Performing Arts, LundUniversity and
Associate Professor at Kristianstad University, Sweden, where he
teaches aesthetics and pedagogy at the Teacher Education and the
Public Health Programmes. His teaching and research interests are
children'smusicalcreativity,musicinspecialeducation,popularculture
andICTinmusiceducationandpublichealth.Boiscommissionerinthe
Special Music Education and Music Therapy Commission and was a
memberof the expert group thatwrote thenewmusic curriculum for
Swedishcompulsoryschool.TogetherwithIdaWestberghehasfounded
IncludingMusic, a network for music in special education and health
promotion.
Ida Westberg - Ida Westberg, M. Ed., Malmö Academy of Music,
Universityof Lund, Swedenworksasamusic teacher ina schoolwere
children in need of special support are integrated in school classes of
childrenbothwithandwithoutdisabilities.TogetherwithBoNilssonshe
has founded IncludingMusic, a network formusic in special education
andhealthpromotion.IdaisalsoengagedinaSwedishforumformusic
theoryandcomposition.
BoNilssonPhD,Reader
KristianstadUniversity,SwedenMalmöAcademyofMusic,LundUniversity,Sweden
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SpecialMusicEducationandMusicTherapyCommissionbo.nilsson@hkr.se
IdaWestbergM.Ed.
MalmöAcademyofMusic,UniversityofLund,Swedenida.westberg@malmo.se
12.00pm–12.30pm–Paper30
PLAY SPACE MUSIC – Improvisation workshop for musicians and dancers with and without disabilities
Shirley Salmon, MPhil, PGCE, BA
1. TheconceptofPLAYSPACEMUSICwasdevelopedbyStefan
HeidweilerinSalzburgin1996attheOrffInstitute,Salzburg.Thebasis
oftheprojectliesinthepioneeringworkofWilhelmKellerwho
developedtheideasofCarlOrffandGunildKeetmanandtheirOrff-
Schulwerktobeappliedalsotoworkwithdisabledchildrenandadults.
Heidweilerfoundotherimportantcontributionstothisprojectinfree
improvisationparticularlyintheworkofsomemusictherapistse.g.
FritzHegi.
2. Thefundamentalideaofthe5dayImprovisation-Workshopwas
themusicalandartisticencounterbetween6professional
musicians,whohadexperienceinimprovisation,andadultswith
disabilitiesandaninterestformusic.Theprojectwasnot
concernedwithestablishingaband,learningorpracticingsongs
orpiecesbutinthefreeimprovisationbetweentheparticipants.
3.ThemethodofFreeImprovisationtookplaceinduos,triosandsmall
ensemblesandendedwithaperformanceonthelastday.Between
2000–2002theprojectwasfurtherdevelopedbyBrigitteFlucherand
ThomasStephanideswhoextendedittoincludedance,paintingand
drawing.2shortfilmsdocumentedtheprojectsfrom1999and2002and
articlesontheprojectswerewrittenbythedirectors(seeSalmon&
Schumacher2001)
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Theprojectwasrevivedin2014asa“Workshopforartistic
improvisationandcreation”(byColomanKallosandShirleySalmon
(lecturersattheOrffInstitute)andincludedworkshopswithmusic,
danceand,forthefirsttime,sculpture.Participantswere:2professional
musicianswhohadtakenpartinalltheprojects,4dancers,(2ofwhich
hadbeeninsomeofthepreviousprojects),thesculptorAndrea
Kuhnlein,studentsfromtheOrffInstituteaswellasadultswith
disabilitiesandadultsfromaday-centreforadultswithemotional
disturbances.
3. Theprojectsshowedthewiderangeofcreativeartisticabilitiesinalltheparticipantsusingthemediaofmusic,dance,paintingand
sculpture.Theparticipantswiththeirdifferentexperiences,needs
andabilitiescouldchoosethemediumtheywantedtoworkwith.
Thediverseexperiencesofdialogueswerebeneficialtoall.The
workshopsintheproject2014weredocumentedfullyandmany
interviewswithmanyoftheparticipantsweremade.
5.ThemainimplicationsforSpecialMusicEducationand/orMusic
Therapyare:
-thevalueoffreeimprovisationasamethodindifferentsocial
constellationsasameansforindividualexpressionandcommunication.
Itallowsandfurtherselementalexpression,encounteranddialogueand
isnotdependentontheabilitytolearnandrepeatparticularpartsofa
songorpiece.
-thevalueofworkingwithdifferentmediasuchasdance,painting,
sculptureandcombiningtheminavarietyofwayswithmusic.
ThepresentationwouldshowthefundamentalideasofPLAY–SPACE–
MUSIC,itsdevelopment,itsfocus,aimsandresultsandillustratethese
withvideoexamples.
ShirleySalmon-ShirleySalmonstudiedmusic(YorkUniversity,
England),trainedasakindergartenandprimaryschoolteacher(Froebel
Institute,London)andtookfurthertraininginmusicandmovement
education,musictherapy,signlanguageandintegrativeeducationin
Austriaandhasamaster’sdegreeineducationalscience(Universityof
Innsbruck).Shehasworkedwithchildrenandadultsofdifferentabilities,
includingdeafandhard-of-hearingchildren,emotionallydisturbed
teenagersandadultswithseveredisabilitiesinmanyformaland
informalsettings.TaughtattheUniversityofteachertraining(Graz).
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LecturerattheOrff-Institute,Salzburgsince1984(“MusicandDancein
theCommunityandinInclusivePedagogy”)wheresheteacheson
summercourses,directsaprofessionaldevelopmentcourseandis
directorofthecourse“AdvancedStudiesinMusicandDanceEducation
–Orff-Schulwerk”.Shegivesworkshopsandlecturesnationallyand
internationallyandhaspublishedbooksandnumerousarticlesin
journals.
OrffInstitute,MozarteumUniversity,Frohnburgweg55,5020Salzburg,Austria
Shirley.salmon@moz.ac.at
www.orffinstitut.at
https://www.moz.ac.at/department.php?o=18645&l=en
12.30pm–1.00pm–Paper31
A Case Study Comparison of a Music Therapist and A Music Educator in an American Public School
Jacqueline C. Smith, ABD, PhD Candidate, University of
Hartford’s The Hartt School
Thepurposeofthisintrinsiccasestudywastoclarifytherolesofamusic
educatorandmusictherapistinapublicschooldistrictinthe
northeasternUnitedStates.Thiscasewasuniquebecausesomeofthe
studentswithspecialneedswereinstructedinself-containedclassrooms
andreceivedbothmusictherapyservicesandmusiceducation,yetthere
waslittlecollaborationbetweenthetwomodalities.Inanefforttolearn
moreabouteachmusicmodality,andtoaddtotheknowledgebaseof
theconnectionsbetweenmusiceducationandmusictherapy,Iposed
fourresearchquestions:(1)Whatarethegoalsofthemusicteacherand
musictherapistforthestudentsintheirclassrooms?(2)Whatarethe
perceptionsofthemusicteacherregardingmusictherapyservicesinan
educationalsetting?(3)Whataretheperceptionsofthemusictherapist
regardingstudentexperiencesinthemusicclassroom?(4)Inwhatways
dothemusictherapistandmusiceducatorcollaborate,ornot,to
improveoutcomesforstudentswithspecialneeds?Iconducted
individualinterviewswiththemusictherapist,themusiceducator,the
districtcoordinatorofmusic,andthemusictherapysupervisor,andI
observedthemusicteacheronseveraloccasions.Additionally,themusic
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therapistandmusiceducatorobservedeachotherworkingwith
students,andthenIinterviewedthemagaintogettheirperspectiveon
whattheynoticedandbelievedwerethegoalsofeachprofessional.
Ifoundthegoalsoftheeducatorandtherapistinmusicwereuniqueyet
complementary,andclarificationofthesegoalsisneededtoassist
educatorswhoworkwithstudentswithspecialneeds.Inaddition,I
foundthatissuesrelatingtocommunicationreflectedtheneedfor
collaborationbetweenthemusiceducatorandspecialeducation
professionals.Furthermore,bothprofessionalsindicatedthattheydid
notfeelvaluedintheschoolsetting,suggestingthatthereisaneedfor
supportfortheprofessionalsworkingwithstudentswithspecialneeds
inmusic.Inacknowledginganddefiningthedisparategoalsofthemusic
educatorandthemusictherapistorothersupporttherapist,supervisors
andmentorscanhighlightwaysforeducatorstocollaboratewith
supportservices.Moreover,understandingthesedifferencescanhelp
themusiceducatortofocusonmusiclearninggoalsintheclassroom
becausemusiceducatorsaretheonlyqualifiedprofessionalswhocan
bringacomprehensivemusiceducationtostudentsofalllearning
abilities.
JacquelineSmith-JacquelineSmith,ABD,isaPhDCandidateand
adjunctfacultyinmusiceducationattheUniversityofHartford’sHartt
School,Connecticut,USA.SheteachesSuzukiandtraditionalpianoat
theHarttCommunityDivision,specializinginteachingchildrenwith
autism.Inaddition,shetaughtmiddleschoolinstrumentalmusicfor
twentyyearsinConnecticut.SmithholdsBMinmusiceducationfrom
theEastmanSchoolofMusic,andMCATinmusictherapyfromDrexel
University.SheworkedattheCenterforAutisminPhiladelphia,and
withchildrenandadolescentsataprivatepsychiatricfacilityin
Massachusetts,beforemovingtoConnecticuttoteach.Smithhas
presentedworkshopsatstateandregionalconferencesandnationallyat
theAutismandArtsEducationSymposium,SMTE,andSRME.Her
researchinterestsincludeinstrumentalmusiceducationforchildren
withexceptionalities,collaborationofmusictherapyandmusic
education,andshehaspublishedinVisionsofResearchinMusic
Education.
jacksmith@hartford.edu
860-428-0074
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1.00pm–1.30pm–Paper32
Spanish Music Education Majors' Comfort Levels to Teach Music to Students with Special Education Needs
Fred P. Spano
THEORETICALBACKGROUNDOFTHEPAPER
AlthoughSpainmandatestheteachingofundergraduatesabout
studentswithspecialeducationalneeds(SEN)inteacherpreparation
programsthroughvariouslaws,thereappearstobelittledataonhow
musicteachersfeelabouttheirabilitytodoso,oriftheyfeelprepared
bytheiruniversitiestoteachstudentswithSEN.
FOCUS
ThefocusofthisstudywastoseetowhatextentSpanish
undergraduatemusiceducationmajorsfeelcomfortablewithteaching
studentswithSEN.Furthermore,didtheyreceivetrainingintheir
undergraduateprogramsthattheyfeeladequatelypreparesthemin
teachingmusictothesestudents.
METHOD
AnadaptedsurveyfromapreviousUSstudyforthepilotstudywas
administeredstudentsintwoSpanishuniversitiesintwodifferent
autonomousregionsofthecountry(N=34).Thesurveycontained
questionsrelatingtodemographicsandquestionsabouttheirperceived
levelsofcomfortteachingvariousagesofstudents,aswellasteaching
studentsmusicwithSEN.Datawerecollectedattwouniversitiesin
SpainintheFallof2015,andafollow-upcollectionofdatawilloccurin
Spring2016toaddtothepilotdata.
RESULTS(Fall2015)Demographicdatafromthepilot(N=34):
• Thirty-oneundergraduates(91.2%)andthreegraduatestudents
(8.8%).Third(n=1,2.9%)andfourthyear(n=29,88.2%)
representtheundergraduatepopulation;26oftheseintendto
teachinthepublicschools.16males(47.1%)and18females
(52.9%).Respondentsintendedteachinglevels:primaryonly(n=
22;84.6%);primaryorsecondary(n=2;7.7%);orpreschool(0–6
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yearsofage)(n=2;7.7%).Kruskal-Wallisone-wayANOVA
revealedsignificantdifferences:
• Betweenundergraduatemalesandfemalesintheircomfortlevels
ofteachingpreschoolstudents,ingeneral,H(1)=4.96,p=.026.
Malesweremoreuncomfortablethanfemales.
• Forthequestion,“Ibelievemyuniversityhaspreparedmeto
teachmusicstudentswithspecialeducationneeds”amongthe
intendedlevelsofteachingfortherespondents,H(2)=6.64,p=
.036.Studentswhoplanonteachingbothineitherprimaryor
secondaryareasfelttheleastprepared.
CONCLUSIONSANDIMPLICATIONSFORSPECIALMUSICEDUCATION
OverallcomfortlevelsofteachingstudentswithSENappeartobe
favorableinthispilotstudy.However,thisissmallsampleandmore
dataareneeded.Genderdifferencesincomfortlevelsinteaching
preschoolstudentsmaytransfertoperceptionsoffeelingunpreparedor
uncomfortabletoteachingpreschoolchildrenwithSENwithalarger
sample,andbearsfurtherscrutiny.Also,thatfactthatpreservicemusic
educationmajorswhowanttoteachinbothprimaryandsecondary
areasfeelunpreparedbytheiruniversitiescouldsuggestthatmaybe
receivingtraininginoneareaforSENinclusion,butnotanother.
FredSpano-FredP.Spano,PhD,isanAssociateProfessorofMusic
Education,andisalsotheAssociateChairfortheDepartmentofMusic
attheUniversityofNorthCarolinaatCharlottewherehecoordinates
severalaspectsforthedepartment,includingoverseeingthevarious
curricula,accreditation,anddepartmentalassessment.Spanohas
presentedmusiceducationresearchandworkshopsforstate,regional,
national,andinternationalconferences,includingtheISMEWorld
ConferenceinPortoAlegre,Brazil.Hehasco-authoredtwotextbooks
withNicoleRobinsonandSuzanneHall:TeachingElementaryMusic:
IntegrativeStrategiesBetweenMusicandOtherSubjects,andGeneral
Music:AK-12Experience.SpanoconductsresearchaboutLGBTQissues
inmusiceducationaswellasstudentswithexceptionalities,AtUNC
Charlotte,Spanoteachesfoundationsandmethodsclassesinmusic
education,andsupervisesstudentteachers.
fspano@uncc.edu
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LUNCH 1.30pm – 2.30pm
2.30pm–3.15pm–Workshop1
mUsiKcare: Applications from a Music and Wellness Older Adult Piano Program
Vicki Stevens McVay, PhD
Coordinator of Class Piano & Executive Director of the Piano Preparatory Program
Olivia Swedberg Yinger, PhD, MT-BC
Director of Music Therapy
Lori Fogus Gooding, PhD, MT-BC Assistant Professor of Music Therapy
BackgroundInformationSuccessfulagingislinkedtolifesatisfaction,longevity,freedomfrom
disability,masteryandgrowth,activeengagementwithlife,and
independence(Moody,2005).Mostresearchersagreethathighlevelsof
physical,cognitive,andsocialfunctioningareimportantforsuccessful
aging(Franklin,&Tate,2009),andstrategiestoimprovefunctioning
promoteengagementinphysicalactivities,socialactivities,and
cognitivelystimulatingactivities(Harmell,Jeste,&Depp,2014).One
specificstrategy,musicalparticipation,hasbeenshowntohavephysical,
psychological,andsocialbenefits,allofwhichhavebeenlinkedto
successfulaging(Franklin&Tate,2009).
PurposeoftheWorkshopThepurposeofthisworkshopistoprovideanoverviewofmUsiKcare,a
10-weekgrouprecreationalmusicandwellnessprogramdesignedfor
adultsages50andolderdevelopedbythepresenters.Feedbackwas
solicitedfromparticipantsbetweenMay
2013and2015toimproveprogramdelivery.Basedonthisfeedback,
presenterswillrevealwhichprogramaspects(a)wereseenasbeneficial,
(b)couldbeimproved,and(c)impactedparticipants’qualityoflife.
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Content:Presenterswillprovideanoverviewofthemusicandwellness
programstructure,includingmusicalcontent,wellnessexercises,
supplementalmaterials,andcommunicationstrategies.Presenterswill
alsohighlighttherecreationalmusicmaking(RMM)framework
developedbyBittman(2001)whichwasusedasthefoundationforthe
program.Additionally,thepresenterswillsharewaysinwhichtheRMM
frameworkwasexpandedtoincludegreatermusicaltraining
opportunities,whichhavebeenshownintheresearchtobedesiredby
olderadults(Flowers&Murphy,2001;Taylor&Hallman,2008).
MethodDuringthisworkshop,basicprograminformationwillbepresented
didactically.
Experientialopportunitieswillbeincluded,andteachingtechniques
fromtheprogramdemonstrated.Practicalapplicationswillalsobe
shared.Discussionandquestionswillbeenencouraged.
Applications
DatacollectedduringthemUsiKcareprogramhighlightsthebenefits
thatarecreationalmusic-makingprogramforolderadultscanhaveon
physical,psychological,social,andmusicalfunctioning.Datagathered
suggestthatgroupmusic-makingprovidescognitiveandpsychosocial
benefitsandencouragesfuturemusicalparticipationinolderadults.
Applicationspresentedduringtheworkshopcanbeusedtodesign
successfulolderadultmusicprogramsthatencouragelifelongmusical
participationaswellassuccessfulaging.
VickiStephensMcVay-VickiStephensMcVayreceivedherPh.D.in
MusicTheory,herMastersinMusicologyandherBachelorsofArts
degree(piano)fromtheUniversityofKentucky.Shehastaughtatthe
UniversityofKentuckysince1990.
Dr.McVayiscoordinatorandinstructoroftheClassPianoDepartment
atU.K.InadditiontoprogramdevelopmentforClassPiano,shealso
overseesallPianoProficiencyExams.Since1998,Dr.McVayhasserved
astheExecutiveDirectorofthePianoPreparatoryProgramatU.K.which
wasestablishedasaresultoftheSchoolofMusic’svisionforcommunity
outreach.
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DrMcVayisaNationallyCertifiedTeacherofMusicwiththeNational
MusicTeachersAssociation.SheservedastheconductorfortheAll-
StateKeyboardEnsemblefortheKentuckyMusicTeachersAssociation
2015Conference.AformerPresidentoftheKentuckyMusicTeachers
Association,Dr.McVaycontinuestoserveontheKMTAstateboardas
membershipchair.
OliviaYinger-OliviaSwedbergYinger,PhD,MT-BDisDirectorofMusic
TherapyandAssistantProfessorofMusicTherapyattheUniversityof
Kentucky.BeforejoiningthefacultyoftheUniversityofKentucky,Dr.
OliviaYingerservedasaTeachingAssistantattheFloridaState
UniversityCollegeofMusic,whereshetaughtcoursesfor
undergraduateandgraduateequivalencymusictherapymajors.
ShecurrentlyservesontheeditorialboardoftheJournalofMusic
TherapyandisadelegatetotheAmericanMusicTherapyAssociation
AssemblyofDelegates,representingthesoutheasternregion.Her
primaryresearchinterestsareproceduralsupportmusictherapy,
neonatalandpediatricmusictherapy,musicingerontology,andmusic
therapyforindividualswithneurologicaldisorders.ShereceivedherBM,
MME,andPhDfromtheFloridaStateUniversityCollegeofMusic.
LoriGooding-LoriFogusGooding,PhD,MT-BC,isanAssistantProfessor
ofMusicTherapyatFloridaStateUniversity.Dr.Goodingtaughtat
CharlestonSouthernUniversityandfoundedtheacademicandclinical
musictherapyprogramsattheUniversityofKentuckybeforejoiningthe
FSUfacultyin2015.
Dr.Gooding’spublicationsappearinvariousrefereedjournalsincluding
theJournalofMusicTherapy,MusicTherapyPerspectives,andMedical
ProblemsofPerformingArtists.SheiseditorofMedicalMusicTherapy:
BuildingaComprehensiveProgramandco-authorofProceduralSupport
MusicTherapy:AGuidetoEvidence-BasedPracticeandProgram
Development.
Dr.GoodingisPresidentoftheSoutheasternRegionoftheAmerican
MusicTherapyAssociation,co-chairoftheFloridaMusicTherapyTask
Force,andamemberoftheeditorialboardfortheJournalofMusic
Therapy.ShereceivedherBMEdegreefromtheUniversityofSouth
CarolinaandherMMandPhDdegreesfromFloridaStateUniversity.
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Vicki.mcvay@uky.edu
Olivia.yinger@uky.edu
lgooding@fsu.edu
3.15pm–4.00pm–Workshop2
Keep a Beat: The Impact of Rhythm on Attention Behaviors of Children in the Classroom Group Setting
Kamile Geist
Associate Professor of Music Therapy Ohio University
Eugene Geist
Associate Professor of Early Childhood Education Ohio University
BackgroundTheliteratureindicatesthatchildrenfromlowsocioeconomicstatus
homeswithexhibitedearlybehavioralconcernsareathigherriskfor
schoolfailure.Whileprimarygoalsofgroupexperiencesforchildrenin
theclassroomsettingaretolearnsocializationandacademicsskills,the
literaturesuggeststhatgroupinstructionintheearlychildhoodand
primarygradescanbeextremelystressfulforteachers,especiallywhen
dealingwithstudentswhoexhibitlackofattentionandotherofftask
behaviors.Recentmusicneuroscienceliteratureisshowingevidenceto
supportthatrhythmcanhavecanhaveanimpactonimprovedattention
behaviorsinchildren.Therefore,music-basedstrategies,specifically
rhythm-based,havethepotentialtoeffectandpossiblyincrease
attentionbehaviorsofchildrenthereforereducingofftaskbehaviors
duringgroupacademicinstruction.Currently,preschoolteachersdouse
musicduringgrouptimeinstructiontoteachacademictaskswithsome
success.Thiscanbelisteningtomusicorsingingfamiliarsongs.While
musicbasedstrategiesdosupportthegoalsofgrouptime,thereisalack
ofevidenced-basedevaluationonhowthisoccursandwhatstrategies
workthebest.Thismakestheeffectivenessofmusicstrategies
inconsistentdependingontheresourcesoftheschoolorlevelof
expertiseoftheteacher.
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PurposeoftheWorkshopThepurposeofthisworkshopistobridgerecentresearchpilotevidence
onarhythmic-basedprotocoltoclassroompractice.Contentand
Method:Thepresenterswillprovideevidenceoftheeffectivenessofthe
KeepaBeatprotocolinpilotworkandstudiesofsinglecasedesignin
earlychildhoodclassrooms,demonstratetheprotocolthroughvideo
examplesofattentionstudies,andallowparticipantstoexperiencethe
impactoftheprotocolonattentionbehaviorsthroughroleplayingand
practice.
ApplicationsWhendevelopingtheteacher-trainingmodule,thepresentersfound
thatteachers,regardlessofmusicalbackground,learnedthese
strategiesandimplementedthemduringgroupinstructiontime.Itis
anticipatedthatparticipantswillbeabletotransfertheknowledge
gainedinthedemonstration/workshoptotheirownmusictherapy
practiceorteachingenvironmentsandusewithavarietyofstudent
populations.
KamileGeist-KamileGeistiscurrentlyAssociateProfessorandDirector
ofMusicTherapyatOhioUniversity,wheresheteachesandprovides
clinicalsupervisionforbothundergraduateandgraduatestudentsin
MusicTherapy.SheholdsaBachelorofMusicEducationfromBaylor
UniversityandanMAinMusicTherapyfromTexasWoman’sUniversity.
ShewilldefendherdissertationinAugust2016togainaPhDin
EducationatOhioUniversity.Herresearchfocusisonhowrhythm
impactsattentionbehaviorsinyoungchildren.TheKeepaBeat(KaB)
researchandteacher-trainingprogramshecreatedhasreceivedfunding
fromtheOhioUniversityOfficeofResearchandSponsoredPrograms,
theOUCollegeofFineArts,theOUPattonCollegeofEducation,and
fromtheOUBakerFund.ProfessorGeistpresentsnationallyand
internationallyonherresearch,includinghostingtrainingsforearly
childhoodeducatorsandmusicteachersinMexicoandColombia,South
AmericaonKaB.
EugeneGeist-Dr.EugeneGeistholdstheB.A.inHistoryandaMEdin
ChildDevelopmentandEarlyChildhoodEducationfromtheUniversityof
Cincinnati.HereceivedhisPh.D.fromtheUniversityofAlabamaat
BirminghaminEarlyChildDevelopmentandEducationwitha
specializationinPiaget’sConstructivism.CurrentlyheisanAssociate
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ProfessorinEarlyChildhoodEducation.Dr.Geisthasteaching
responsibilitiesintheEarlyChildhoodEducationprogram,theConnivino
HonorsProgramandtheDoctoralprograminCurriculumand
Instruction.Hisareasofexpertiseincludechilddevelopment,
constructivism,andthedevelopmentofmathematicalknowledgein
youngchildren.pment,constructivism,andthedevelopmentof
mathematicalknowledgeinyoungchildren.
KamileGeistAssociateProfessorofMusicTherapy
OhioUniversitygeistk@ohio.edu
https://www.ohio.edu/finearts/faculty-
staff/profiles.cfm?profile=D875C664-5056-A800-489BE7CEE0708A1A
EugeneGeistAssociateProfessorofEarlyChildhoodEducation
OhioUniversity
geist@ohio.edu
https://www.ohio.edu/education/faculty-and-
staff/profiles.cfm?profile=16460053-5056-A800-48F9B41696C989AA
4.00pm–4.30pm–Paper33
Actualisation The Healing Effects Of Music In Modern Education
Toropova Alla V. PhD., D.Sc.,
Professor of the Moscow State Pedagogical University (MSPU),
Lead Researcher of the Psychological Institute of the Russian Academy of Education (PIRAE)
Lvova Tatiana V. PhD.,
Moscow State Pedagogical University (MSPU)
ABSTRACTTheoretical/pedagogicalbackground
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Protectionandpromotionofchildren’shealthisnotonlythefocusof
healthcareinstitutionsbutthepriorityofthesociety,theeducation
systemandofanyschoolofeducationalinstitution.Education,
psychologyandpreventativemedicineshouldpooltheireffortsto
developasociallyorganizedpreventativeprogramforchildrenaimedat
minimizingpsychosomaticsymptomclustersatearlypersonality
ontogenystages.Ensuringhealthprotectionaspartoftheeducation
processisevenmoreimportantbecausechildrensufferingfromthose
symptomstendtodeveloppersonalityfactorsthatdefinethistypeas
thepsychosomaticpersonalityprofile.
Psychosomaticpatientsandstudentshavethegeneralcharacteristics
andfactors,whichincluderestrictedorevenasymmetricmovements,
apparentmuscularblocksandtensioninthemovements.
THEAIM&CONCEPTWedevelopedandtestedamusicalandeducationalapproachto
rehabilitationofchildrenwiththepsychosomaticpersonalityprofile
coveringtheaspectsofthemusicitselftomusicalactivitiesofchildren.
Asaresult,weproducedatheoreticalandmethodologicalmodelof
musicalandeducationalrehabilitationofchildrenwiththe
psychosomaticpersonalityprofile.
METHODSThismodelwastestedatachildren’sdepartmentonchildrendiagnosed
withasthmathatisclassifiedasapsychosomaticdisorderinterfering
withnormaleducationprocess.Theselectioniscomposedofthree
groups:experimentalgroup1(EG-1):childrenwhotookdaily(excluding
SaturdayandSunday)classesbasedonourmusicalandeducational
rehabilitationmodel(2weeks),n=15;thedifferencebetween
experimentalgroup2(EG-2)andEG-1wasadifferentsetofeducational
activitiesandalongerdurationofexposure(3weeks),n=10;reference
group(RG):childrenwhoweretreatedatthesamedepartmentbutdid
nottakemusicclasses,n=10.
RESULTSThecomparisonresultsconfirmtheeffectivenessofcombined(medical,
musicalandeducational)rehabilitationofchildrensufferingfrom
asthma(EG-1andEG-2)comparedtosolelydrugtreatments(reference
indicator:r<0.05).Allmethodshaveatendencysuggestingthe
effectivenessofthesetofmeasuresusedforEG-2comparedtoEG-1
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andprovingthatthelongerclasseslast,themoreeffectivetheybecome.
Itprovestheeffectivenessofeducationalactivitiesintermsofreduction
ofthegeneralsymptomsandfactorsmuscletensioninchildrensuffering
fromasthma.
CONCLUSIONSTheexperimentalworkconfirmedthereal“healthsavingproductivity”
ofmusiceducationtechnologiestested.
AllaToropova-Toropova,AllaV.PhD.,D.Sc.,ProfessoroftheMoscowStatePedagogicalUniversity(MSPU),
LeadResearcherofthePsychologicalInstituteoftheRussianAcademyof
Education(PIRAE).DoctorofPedagogicalSciences.Professorof
DepartmentofMethodology&TechnologyofMusicEducationand
DepartmentofPsychologyofDevelopmentatTheMoscowState
PedagogicalUniversity.TheheadoftheScientific-educationalCentre
«Art-psychologyintheEducation».Scientificinterests:musical
psychology,differentialpsychologyandpsychologyofdevelopment;
anthropologicaltheoriesofculture,psychosemanticsofArt,
psychotherapyandmusictherapy
TatianaLvova-LvovaTatianaV.PhD.,MoscowStatePedagogicalUniversity(MSPU)
Teacher-psychologist,researcheroftheScientific-educationalCentre
«Art-psychologyintheEducation».Scientificinterests:musical
psychology,psychotherapyandmusictherapy.
allatoropova@list.ru
http://мпгу.рф/graduates/toropova-alla-vladimirovna/
tatlvova@rambler.ru
COFFEE BREAK 4.30pm – 5.00pm
5.00pm–5.30pm–Paper34Singing and learning: Music in inclusive early childhood settings
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Potheini Vaiouli, PhD, BC-MT, Lecturer, European University Cyprus
Georgia Andreou, PhD, Assistant Professor, University of Thessaly, Greece
TheoreticalbackgroundofthepaperTheintentionaluseofmusicactivitiesasaninstructionaltoolinearly
childhoodsettingsisappropriateforalllearners,despitetheirdiverse
abilities.Theuseofmusicprovidesage-appropriateandcontextually
relevantstimuli,structure,andsensoryfeedback.Research
demonstratesthatmusicactivitiesembeddedinearlychildhood
programsisapromisingmethodforsupportingbothengagementand
earlyliteracyskillsforalllearners.Thereisincreasingevidencethat
activeparticipationinmusiccansupportlearninginnon-musical
domains,suchaschildren'slevelsofengagementindailyroutines,
vocabularydevelopment,participationinproblem-solvingskills,
children'sengagement,andearlyliteracyskills(Bolduc,2009;Lessard&
Bolduc,2011;Standley,2008).
AimoftheworkThepurposeofthispresentationistopresenttheresultsofastudyon
theeffectsofamodelforembeddingmusicintheearlychildhood
curriculum.Theresearchersoughttoexplorehowteacherscouldusea
musiccurriculumasavehicletopromoteengagementandearlyliteracy
developmentofyoungchildrenattendingaMidwestHeadStart
classroom.Theteachers’perspectivesontheuseofmusicasan
engaginginstructionaltoolintheclassroomwerealsoexamined.
Implicationsforcurriculumdesignandtheacademicandsocial
applicationsofmusicwithyoungchildrenwillbediscussed.
Method&ResultsThecurrentstudyemployedamixedmethod(quasi-experimental
pretest-posttestandcasestudy)toexploretheeffectsofamusic
interventionontheengagementandearlyliteracyskillsofyoung
children(N=2,35children)inaMidwestHeadStartprogram.Theuseof
specificinstrumentsallowedtheresearchertoassessandevaluatethe
children’sengagementabilities,earlyliteracyskills,andtheirvocabulary
development.Acomplimentarycasestudyexploredteachers’
experienceswiththeintentionaluseofmusicasaninstructionaltoolin
theclassroom.
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Resultsshowedthatchildrenintheexperimentalgrouphadsignificant
highergainsintheirlevelsofengagementandtheirearlyliteracy
developmentcomparedtothecontrolgroup.
ConclusionsTheintentionaluseofmusicactivitiesasaninstructionaltoolinearly
childhoodsettingsisappropriateforalllearners,despitetheirdiverse
abilities.Theuseofmusicprovidesage-appropriateandcontextually
relevantstimuli,structure,andsensoryfeedback.Sincechildrenhavea
naturaldispositiontoengageinmusicalactivities,musicservesasa
scaffoldtofosterengagementandparticipationinclassroomearly
literacyactivitiesincludingsecond-languagelearners,childrenfrom
diverseeconomicbackgrounds,aswellasspeciallearningneeds.
PotheiniVaiouli-PotheiniVaiouli,PhD,isalectureratEuropeanUniversity,Cyprus.Dr.Vaioulihasextensiveexperienceworkingin
specialeducationsettingsincorporatingmusic-basedlearningtosupport
allstudents'growth.Herresearchinterestsincludeworkingwithyoung
childrenandtheirfamiliestopromoteengagementandlearningthrough
musicandmusictherapyintervention.
GeorgiaAndreou-GeorgiaAndreouisAssistantProfessorofLinguisticsatUniversityofThessaly,Greece.Sheteachesseveralcourses,including
introductiontolinguistics,pshycholinguistic,andteachingGreekasa
secondlanguage.Herresearchinterestsinclude,amongothers,
bilingualism,neurolinguistics,languagedevelopmentofchildrenwith
specialneeds.
pvaiouli@gmail.com
5.30pm–6.15pm–Workshop3
Figuring Out’ Figurenotes: Rewards and Challenges in Implementing Figurenotes Notation in the General Music
Classroom
Nancy O'Neill, Kimberly McCord
Asclassroomsarestrivingtobecomemoreinclusiveforstudentswith
exceptionalities,musiceducatorsneedtofindconcreteandpractical
waystoprovideallstudentswiththeopportunitytocreateandperform
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musictogether.Aprogressiveapproachtofacilitatingthistypeof
learningistheimplementationofanalternativenotationsysteminthe
generalmusicclassroom,suchasFigurenotes,acolorandfigure
notationsystemdevelopedthroughapplicationsbyKaarloUusitaloand
MarkkuKaikkonen,directorsofSpecialMusicCentreResonaariin
Helsinki,Finland.
Theworkshopwillincludeactivitiesandbasicinformationabout
Figurenotesanddemonstratepracticalwaysthatthenotationsystem
canbeusedingeneralmusicclassroomsforallstudentsofdifferent
ages,bothtypicalandthosewithexceptionalities.NancyO’Neillwill
presentexamplesofseveralschoolsthatshehasobservedusing
Figurenotes,usingherownteachingexperienceandpersonalinterviews
conductedduringheryearasaU.S.FulbrightFellowresearchingmusic
educationmethodsinFinland.KimMcCordwillpresenthowsheisusing
FigurenotesatMetcalfLaboratorySchoolintheUnitedStatestoteach
diversegroupsofstudents.Therewardsinstudentachievement
resultingfromusingthismethodwillbeexamined,aswellassomeof
thepotentialchallengesfacedbyteachers,forexamplemakingthe
transitionbetweenFigurenotesandtraditionalnotation.
NancyO'Neill-NancyO'Neilliscurrentlyinherthirdyearofteachingelementarygeneralmusictostudentsagesfivethroughelevenat
WestfieldCommunitySchool,apublicschoolintheNorthwestsuburbs
ofChicago,Illinois,UnitedStates.NancygraduatedfromIllinoisState
Universityin2013withaMusicEducationmajor&EnglishEducation
minor.WhileatIllinoisState,shereceivedgrantsthroughtheIllinois
StateFriendsoftheArts,SeniorProfessionalsorganization,andthe
TownofNormalHarmonArtsGrantProgramtoorganizeconcertsfor
individualswithexceptionalitiesinthecommunity.Nancystudiedhorn
inSalzburg,AustriawithWilliSchwaiger,solohornoftheMozarteum
Orchestra,andRadovanVlatkovic,professorofhornattheUniversität
Mozarteum.From2013-2014shewasawardedaU.S.Fulbright
Fellowshiptoperform,teach,andresearchteachingmethodsusedfor
musicstudentswithexceptionalitiesatSpecialMusicCentreResonaari
inHelsinki,Finland.
KimberlyMcCord-KimberlyMcCordisProfessorofMusicEducationat
IllinoisStateUniversitywheresheteachesgeneralmusicmethodsand
specialmusiceducation,includingaFigurenotesrockbandforteenagers
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andadultswithdisabilities.SheisanISMEBoardmember,founderand
firstchairoftheJazzSpecialInterestGroup,andisthepastchairofthe
ISMECommissiononMusicinSpecialEducation,MusicTherapyand
MusicMedicine.ShefoundedandwasthefirstchairoftheNational
AssociationforMusicEducationSpecialResearchInterestGroupon
ChildrenwithExceptionalities.McCordrecentlyco-editedExceptional
MusicPedagogyforChildrenwithExceptionalitieswithDeborah
VanderLindeandhasanupcomingbook,TeachingthePostsecondary
MusicStudentwithDisabilitiespublishedthisfallforOxfordUniversity
Press.
NancyO'NeillGeneralMusicTeacher
WestfieldCommunitySchoolAlgonquin,Illinois,USA
nancyoneillmusic@gmail.com
KimberlyMcCordProfessorofMusicEducation
IllinoisStateUniversityNormal,Illinois,USAkamccor@ilstu.edu
6.15pm–7.00pm–Workshop4ADAPT: A Comprehensive Model for Special Music Education
in a Private Lesson Setting
Erin Parkes, PhD., Founder and Executive Director of Lotus Centre for Special Music Education
Studentswithspecialneedsoftenthrivethroughindividualizedlearning,
andforthisreasonprivatemusiclessonscanbetheoptimal
environmentforlearningtoplayamusicalinstrument.However,
developingindividualizedcurriculumsforthevaststrengthsand
challengesofstudentswithexceptionalitiescanbedifficultformusic
teachers,especiallythosewithoutextensivetrainingorbackgroundin
specialmusiceducation.TheADAPTmodelofspecialmusiceducation
wasdevelopedtoprovideaframeworkthroughwhichmusicteachers
canprovideindividualizedcurriculumstostudentsusinganevidence-
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basedapproach.Themethodinvolvesdevelopinganunderstandingof
thevariousdiagnoses,assessingthestrengthsandchallengesofthe
student,analyzingtheresearchwhichwillcontributetoanevidence-
basedapproach,anddevelopingacourseofactionthatwillmaximize
thestudent’sstrengthswhileusingremedialactivitiesandgamesto
fostergrowthinareasofweakness.UsingtheADAPTmodelcanhelp
privatemusicteacherstoensurethattheyaretakingintoaccountall
factorsthatcancontributetotheirstudent’slearning,includingsensory
orbehaviouralchallenges.Focusingonstudentstrengthsand
incorporatingprovenstrategiesintoprivatemusiclessonswhileusing
funactivitiestodevelopareasofweaknesswillallowstudentstoleave
eachlessonfeelcapablewhilestillbuildingallskillsrequiredformusical
instrumentperformance,andfosterapositiveattitudetowardsmusic
learning(aswellasapositiveattitudeformusicteachers)!Duringthis
workshop,participantswilllearnhowtoimplementthefivestepsofthe
modelforanystudentwithspecialneedsandexploreresearch-
developedtoolswhichwillfacilitatelessonplanningforthesediverse
learners.ErinParkes-ErinParkesisthefounderandexecutivedirectorofLotusCentreforSpecialMusicEducation,anot-for-profitorganization
dedicatedtodevelopinganddeliveringmusiceducationprogramsfor
peoplewithspecialneeds.Dr.Parkesreceivedherdoctorateinmusic
educationfromMcGillUniversitywhereherresearchwasontraining
privatestudiomusicteacherstoworkwithstudentswithautism
spectrumdisorder.Dr.Parkesisanactiveresearcherandclinicianwho
strivestoincreaseaccesstoevidence-basedspecialmusiceducationfor
alllearners.Shealsocontinuestoteachstudentsofallagesandall
abilities.
www.lotuscentre.net
erin@lotuscentre.net
7.00pm–7.45pm–Workshop5
Making music in a self-determined way: Ideals of Inclusion in music teaching practice
Presenter: Robert Wagner, Headmaster, school of music,
Fürth, Germany
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Band members:
Anna Dollinger, vocal Emma Schmitzer, flute Matthias Noras, guitar
Tobias Gehring, accordion Tyrone Vickers, bass
Reimund Gerbl, cajon
Responsibleforthemusiciansinneedofspecialsupport:
DanielaHolweg
MaxWagner
Onthe26thofMarch2009Germanycommitteditselftoacceptthe
DisabilityConventionoftheUnitedNationstoalignthewholesociety
freeofbarriersandinclusive.
Thisalsoposesachallengetomusicschoolsanditsteacherstooffer
individualparticipationtoallpeoplewhowanttomakemusic.
Buthowshouldanofferbemade,thatmeetstherequirementsof
children,youth,adults,seniorcitizens,peoplewithandwithout
handicapsandpeoplewithmigrationbackground?
Howcanthisberequestedbytheinclusionofcollectivelearningina
gainforallstudents?
Theconceptforplayingmusicfromtheverybeginning,whichhasbeen
testedinpracticemanytimes,coversallfieldsofpracticalexperienceof
musiceducationsimilarly:instrumentalgrouplessons,generation-
coveringtoplaytogetherandlearninghowtoplay,instrumentalplaying
fordisabledpeopleorclasslessons.Theway“fromharmonytomelody”
issuitabletocrossallstylesofmusicandisaswellforbeginnersasfor
advancedlearnersagoodwayofparticipationarrangingmusicalwork.
Participantsoftheworksessionwillgaininsightsthroughvideo
examplesofthemethodandopportunitytolearnabouttheessential
featuresofaninclusivemusiceducation.
Mainaimsofinclusioninourwork:
Everysinglemusicianplaysaveryimportantrolecontributingtothe
successoftheensemble.Thecompetenceandtheexitingenergyofeach
singlememberarevitalforthewholeband.Veryspecialisthesimple
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factthatallmusiciansareincludedinplayingtheharmony,melodyand
rhythm.
Anotherpointisthatwetrytomakesurethatallcapabilitieswhichhave
beenlearntbythemusicians,canbetransferredtootherpiecesof
music.Thisisonlypossibleifeachmemberofthebandunderstandshis/
herresponsibility.Eachparticipanthastherighttomakehis/herown
decisionwithregardtothelevelofhiscompetence.Self-determination
andthecapabilityofbeingamemberinateamareimportantdoctrines
ofoureducationforpeoplewithorwithoutspecialneeds.
RobertWagner-RobertWagner,Headmaster,schoolofmusic,Fürth,
Germanychairmanoftheinclusioncommittee(Germanmusicschool
association)leaderoftheadvancedcourse"specialmusiceducation"in
orderoftheGermanmusicschoolassociation.
www.musikschule-fuerth.de
info@musikschule-fuerth.de
7.45pm–8.30pm–Workshop6
STOP: Enhancing Executive Functions through Music Learning
Elaine Bernstorf, Ph.D., CCC-SLP
BackgroundInclusionsettingsrequireteachersandstudentstomakenumerous
decisionswithconstraintsrelatedtospace,time,objectuse,and
personalrelationships.Globally,studentswithexecutivefunction
deficitspresentachallengeinmusiceducationsettings,yetmusicitself
providesstructuresthatcanhelptheselearnersimprovetheirexecutive
functionskills.
PurposeMusicisuniqueindevelopingexecutivefunction(EF)skillsforall
learners.Thissessionconsidershowteacherscanuseanadaptation
processcalled“STOP”withinmusicsettingstosupportclassroom
managementanddeeperlearningforstudentswhohavecognitive,
perceptual,orbehavioraldisabilities.
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ContentThesessionwillhelpmusiceducatorsapplyprinciplesrelatedto
executivefunctionsthatareusedbyoccupationaltherapists,speech
pathologists,andspecialeducationexperts.Specifically,executive
functionwillbedescribedasitrelatestolearningininclusivemusic
settings.Thinkingskills(planning,organization,timemanagement,
workingmemoryandmetacognition)andbehaviorskills(response
inhibition,emotionalcontrol,sustainedattention,taskinitiation,and
flexibility)willbeaddressedastheyrelatetomusiclearningactivities
Method:Lectureandsamplemusicactivitieswillbeusedinteractively.
ParticipantswillbeguidedthroughtheSTOPanalysisprocessdeveloped
byoccupationaltherapist,SarahWard.STOPisaprocesswhereteachers
analyzeandthenassiststudentsinestablishingroutinesaroundSpace,
Time,ObjectsandPeople.Thissimpleacronymguidesteachersandtheir
studentstoworkaloneandingroups.Inaddition,participantswill
examinehowtypicalmusiceducationactivitiessupporttheSTOP
principlesnaturallythroughatypicalmusiclessonformat.
ApplicationsformusiceducationStudentswhoexperiencegoodmusiceducationandtherapygain
successinexecutivefunctionsanddevelopperceptionalprocesses
(auditory,visualandkinesthetic)neededforliteracylearning.TheSTOP
methodiswidelyrecognizedandsupportsdifferentiatedinstruction.Use
ofroutines,problemsolving,visualorganizers,andbackwarddesignwill
beillustrated.Principlesofuniversaldesignwillbesuggestedas
supportsforexecutivefunctiondevelopment.
Equipmentneeded:Dataprojectorandscreenfortheinteractive
powerpoint.Sessioncouldbepresentedwithhandoutsonlyand
adjustedforminimalspace,ifneeded.
ResourcesWard,Sarah.“JustTreatmentToolstoDevelopExecutiveFunction
Skills.”SessionpresentedattheannualconferencefortheAmerican
SpeechLanguageHearingAssociation,Chicago,Illinois,November13-16,
2013.
Ward,Sarah.http://cognitiveconnectionstherapy.com/
ElaineBernstorf-ElaineBernstorf,Ph.D.,CCC-SLPisProfessorofMusic
Education,WichitaStateUniversity,Kansas.ShewasAssociateDean
(2000-2009)andInterimDean(2003-2004)oftheCollegeofFineArts.
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ShewasnamedafoundingCohenHonorsCollegeFacultyFellow(2014-
2016).Herspecializationsincludeelementaryvocalandspecialmusic
education;artsintegration;voice,fluency,childlanguage,literacyand
curriculumdevelopment.Dr.Bernstorfco-authoredthebookTheMusic
andLiteracyConnection.SheservesasChairforNAfMEExceptional
LearnersSRIG(2016-2018)andCo-chairforKansasMEASpecialNeeds
focusarea(2013-2016).BernstorfservesontheAdministrator
ConnectionsadvisoryboardforOrganizationofAmericanKodaly
EducatorsandascolumncoordinatorfortheEnvoyjournal.Shealso
worksasaspeechpathologistinprivatepracticeandvoiceteacher.
ElaineBernstorf,Ph.D.,CCC-SLP,ProfessorofMusicEducationWichitaStateUniversity,Wichita,KansasUSA
1845N.Fairmount,Wichita,KS,USA67260-0053elaine.bernstorf@wichita.edu
316-978-6953(office)
www.wichita.edu/music/workshops(forISMEpresentationmaterials)
http://webs.wichita.edu/?u=fa_musiced&p=/bernstorf
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END OF DAY THREE
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DAY FOUR Saturday 23rd July 2016
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DAYFOUR–Saturday23rdJuly20168.45am–9.15am Paper4-ACaseStudyonMusicActivitiestoInteraction
withPeersofaChildwithAutism–JessieChen
9.15am–9.45am Paper37-WhoseJobIsIt?TheRolesofTeacherand
ParaeducatorintheMusicClassroom-Dr.Kimberly
VanWeelden,Ms.KennaVeronee,Mrs.LauraSingletary
9.45am–10.15am Paper38-PeerInteractionInstructionandActivities:
ObservationsofFirst-GradeInclusiveMusicClassroom-
Draper,E.,Brown,L.,andJellison,J.
10.15am–11.00am Workshop7-Kodaly-BasedMusicActivitiesforChildren
withanAutismSpectrum-Dr.MaritzaSadowsky
11.00am–11.30am CoffeeBreak
11.30am–12.00pm ImagineThe
Future
Performance
Presentations
VollgasConnected,MusikschuleFürth,
RobertWagner
12.00pm–12.30pm SouthWestOpenYouthOrchestra–
OpenUp,DougBottandBarryFarrimond
12.30pm-1.00pm TheGlovesAreOn–DrakeMusic,Kris
Halpin
1.00pm–2.00pm LUNCH
1.00pm–2.30pm ImagineThe
Future
Performance
Presentations
Resonaarigroup–Resonaari,Markku
Kaikkonen
2.30pm–3.00pm IMAGINE-AGlimpsetotheFutureof
MusicEducation-Imagine,RoyTal
3.00pm–3.30pm DigitalOrchestra–DrakeMusicScotland,
PeteSparkes
3.30pm–4.00pm CertificatesandClosing
EndofDayFour
RoomsareindicatedintheLefthandcolumn.
SouthHallandKirklandSuite
#ISMESpecialEdMT 131
8.45am–9.15am–Paper4A Case Study on Music Activities to Interaction with Peers of a
Child with Autism
Jessie Chen, Professor and Ms. Pin-Chi Li.
Thisstudyaimedtoexplorethefunctionsofmusictosocialabilitiesofa
childwithautism.Researchersdefinedthecharacteristicsofautismand
socialdevelopment,andthendiscussedtheimplementationofmusic
strategiesandcontents.Theexperimentalteachingstrategieswere
appliedtothecasebasedontheliteraturereview.Athird-gradestudent
withautismwasselectedasthecaseinthestudy.Thecasewas
identifiedasanautisticpatientbyTaiwanAdventistHospitalat3-year-
old.Musicactivitiesusedinthestudyincludedsinging,dancing,and
musiclistening.Themusicactivitiesaimedtoenhancethetworesearch
objectivesofthecase:a)initiativetojoinwithother’sactivities,andb)
seekcooperationwithothers.Experimentalteachingtookthreemonths,
twiceaweek,30minuteseachtime.Therewere15musicalsessionsin
totalincludingthreepilotsessions.
Thiscasestudymainlycollectedqualitativedatabutsupportedby
quantitativedataasamixed-designresearch.Thedatacollectionwas
majorlythroughobservationsasvideorecordingsandobserving
interactionsduringrecessperiods.Moreover,teacher’sreflections,a
parent’sfeedbacks,andevaluationsofclassroomteachers,special
educationteacher,andmusicteacherwerecollectedtobuildup
reliabilityandvalidityforthestudy.
Accordingtotheresults,conclusionsandrecommendationsweremade
asfollows:
a)Musicactivitiescanenhancethecaseinthecapacityofsocial
interactionwithpeersinthe“initiativetojoinwithother’sactivities.”
b)Musicactivitiescanenhancethecaseinthecapacityofsocial
interactionwithpeersinthe“seekcooperationwithothers.”
c)Diverseformsofmusicactivitiescanprovidemorecontextofsensory
imitation.Amongthem,“singing”and“cooperation-baseddance”can
helpchildrenbuildconfidenceandimprovebehaviorsofinteractionwith
peers.
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d)Thecaseinotherinteractivebehaviorsalsoshowedpositivechanges
afterMusicactivities,suchasphysicalcoordination,respondingto
music,attentionintheclassroom,self-confidence,andasenseoftrust
withpeersandsoon.
Keywords:Musicactivities,AchildwithAutism,Interactionwithpeers
JessieChen-ProfessorofmusicatNationalTaichungUniversityof
EducationinTaiwan,andalsoexecutivedirectorofTaiwanKodaly
Society.SheiscommissionerofISMECommissiononMusicinSpecial
Education,MusicTherapyandMusicMedicine,andshealsoservesin
theeditorialcommitteeofInternationalJournalofMusicEducation:
Practice(A&HCIJournal).ProfessorChenrepresentsTaiwan,R.O.C.in
theBoardofAsia-PacificSymposiumforMusicEducationResearch
(APSMER,regionalconferenceofISME).Shejoinsmanyprofessional
associationsandservesasdirectorofMusicEducatorAssociationof
TaiwanandcommitteememberofArtsandHumanitiesTextbook
CertificationCommittee(NationalAcademyforEducationalResearch).
Shewasthe7thand8thPresidentofTaiwanKodalySociety.
Dr.Chenisspecializedinmusicteachertrainingfromearlychildhoodto
elementarylevel.Herteachingandresearchinterestsareapplicationsof
KodalyandOrffapproachesinalllevelsandpopulations.
Pin-ChiLi-Pin-chiLiisfromTaipeiandgainedhermasterdegreeof
MusicEducationfromNationalTaipeiUniversityofEducation.Sheis
musicteacheratChung-HwaBilingualSchoolofArtinKaohsiung.She
notonlyteachesgeneralmusicclassesbutalsoconductschoirand
recorderensemble.Bothmusicalclubsgaveconcertsandwereinvited
byMayorofKaohsiungCitytoperformintheCityHall.Pin-Chiwishesto
promotemusiceducationformorechildrenaswellastohave
opportunitiestomakeithappen.
Paper36
Denise White
Gestural Language as a system for collaborative musical co-creation by intellectually disabled performers
Unabletoattend.
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9.15am–9.45am–Paper37Whose Job Is It? The Roles of Teacher and Paraeducator in the
Music Classroom
Dr. Kimberly VanWeelden Ms. Kenna Veronee
Mrs. Laura Singletary
Paraeducatorsareschoolpersonnelwhoassiststudentswithdisabilities
invaryingways,includingprovidinginstruction,tutoring,classroom
management,andperformingothertasksthatoverlapwiththe
classroomteacher’sresponsibilities.Whiletheparaeducatorisoftenan
expertinunderstandingtheindividualstudent’suniqueneeds,theymay
notbeproficientorknowledgeableaboutmusicormusicactivities.Asa
result,commoncomplaintsemergefrommusicteachersregardingthe
passivityoftheparaeducatorwhileinthemusicclassroom.
MusiceducatorsintheUnitedStatesoftenlearnhowtoworkwith
paraeducatorsonthejob.However,asmorecollegesanduniversities
incorporateintegratedunits,dedicatedcourses,and/orfield
experiencestohelppreservicemusiceducatorspreparetoworkwith
studentswithdisabilities,itmaybebeneficialtoincludespecifictraining
onhowtoworkandcommunicatewithparaeducatorsaswell.
Therefore,thepurposeofthisstudywastoexaminetheeffectofserving
intheroleofteacherandparaeducatoronpreservicemusiceducators’
perceptionofresponsibilitiesforclassroomtasks.
Theparticipants(N=47)wereundergraduatepreservicemusic
educatorswhoalternatelyservedasteachersor
paraeducators/assistantstostudentswithdisabilitiesinasecondary
generalmusiclabexperience.Thedependentmeasurewasasurveythat
contained25tasksthataskedpreservicemusiceducatorstoratethe
degreetowhichtheyfelteachtaskwastheteacher’sjoband/orthe
paraeducator’sjob.Foralltasks,a10-pointLikert-typescale,anchored
bythedescriptorsneverresponsibleandtotalresponsibility,wereused
–onefortheiropinionsregardingtheteacher’sjob,andonefortheir
opinionsregardingtheparaeducator’sjob.Directlypriorandafterthe
fieldexperiencethepreservicemusiceducatorscompletethesame
survey,creatingapretest-posttestdesign.
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Whendatawasanalyzedbytheteacherpre-toposttestratings,
perceptionsregardingtheteacher’srolesignificantlychangedwithintwo
itemsoverthecourseofthelabexperience:modelclassroomactivities
sothestudentunderstandsdirections/techniques,andinitiate
communicationaboutthestudent’sprogressintheclass.The
perceptionsoftheparaeducator’srolefrompre-toposttestratings
significantlychangedwithinhelpingprepareinstructionalmaterialsto
meetthestudent’sneedsbeforeclass,andhelpingpreparethe
classroomenvironmenttomeetthestudent’sneedsbeforeclass.
Furtherresultswillbediscussed.
KimberleyVanWeelden-Dr.KimberlyVanWeeldenisProfessorof
MusicEducationatFloridaStateUniversity.Herresearchpublications
regardingchildrenwithdisabilitiesappearinleadingnationaland
internationaljournalsinMusicEducationandMusicTherapy.Sheserves
ontheEditorialBoardofUpdate:ApplicationsforResearchinMusic
Education,isaWorkGroupMemberfortheCommissiononMusicand
SpecialEducationoftheInternationalSocietyforMusicEducation
(ISME),istheSouthernDivisionChairoftheMusicTeacherEducation
SpecialResearchInterestGroup(SRIG),andisapastNationalChairfor
theChildrenwithExceptionalitiesSRIG.
���
LauraSingletary-LauraSingletaryholdsanundergraduatedegreefrom
FloridaStateUniversity,andamaster’sdegreefromtheUniversityof
Illinois.Sheisaveteranmiddleschoolbanddirectorwithtwentyyears
experience.ShetaughtatRadiumSpringsMiddleSchoolinAlbany,
Georgia;EdgewoodJr.HighSchoolinMerrittIsland,Florida;L.B.
JohnsonMiddleSchoolinMelbourne,Florida;andmostrecentlyat
FairviewMiddleSchoolinTallahassee,Florida.Mrs.Singletaryhas
servedasclinicianforhonorgroupsinFloridaandGeorgia,andservedas
theconductorfortheFloridaAll-StateMiddleSchoolBandfor2009.She
iscurrentlypursingaPhDinmusiceducationatFloridaStateUniversity.
KennaVeronee-KennaVeroneehastaughtband,orchestra,andgeneralmusicincentralFlorida,andreceivedherBachelor’sofMusic
EducationandMastersofMusicEducationdegreesfromFloridaState
UniversityinTallahassee,Florida.Sheisanactiveperformer,educator,
andresearcher,andiscurrentlypursuingaPhDinmusiceducationat
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FloridaStateUniversity.Ms.Veronee'sresearchtopicsincludemusic
teachereducationandtraining,andnon-traditionalmusicclasses.
KimberlyVanWeeldenProfessor,MusicEducationCollegeofMusicFloridaStateUniversityTallahassee,FL32306-1180
kvanweelden@fsu.edu
LauraSingletaryCollegeofMusic
FloridaStateUniversityTallahassee,FL32306-1180singletl33@gmail.com
KennaVeroneeCollegeofMusic
FloridaStateUniversityTallahassee,FL32306-1180kev04@my.fsu.edu
9.45am–10.15am–Paper38
Peer Interaction Instruction and Activities: Observations of First-Grade Inclusive Music Classrooms
Draper, E., Brown, L., and Jellison, J.
MostchildrenwithdisabilitiesintheUnitedStatesareeducatedin
schoolswithtypicallydevelopingpeers.Manyofthesestudentslikely
alsoparticipateininclusivemusicclassrooms;however,thereislittle
empiricalresearchthatinformsmusiceducationpracticesforstudents
withdisabilitiesininclusivemusicsettings.
Childrenwithintellectualdisabilitiesandautismaremostoftenarethe
participantsinmusicresearchwithchildrenwithdisabilities(Brown&
Jellison,2012)andininclusivemusiceducationresearch(Jellison&
Draper,2015).Variablesexaminedmostfrequentlyrelatetosocialskills,
includingdailylivingskillsandclassroomroutines,andlessfrequently,
socialinteractionsbetweenstudentswithandwithoutdisabilities
(Brown&Jellison,2012;Jellison&Draper,2015).
Structuredsocialinteractions,includingpeertutoring,collaborative
reasoning,andpeerassistedlearning(PAL),areexaminedfrequentlyin
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specialandgeneraleducationresearchliteratureandshowacademic
andsocialbenefitsforstudentswithandwithoutdisabilitieswho
participateinthesetypesofinteractionsinclassrooms(Ginsburg-Block,
Rohrbeck,&Fantuzzo,2006;Rohrbeck,Ginsburg-Block,Fantuzzo,&
Miller,2003).Onlyoneexperimentalstudytodatehasexamined
structuredsocialinteractionsininclusivemusicclassrooms(Jellison,
Brooks,&Huck,1984).
Thepurposeofthisstudywastodescribepeerinteractionsamongfirst-
gradestudentswithandwithoutdisabilitiesintwoinclusivemusic
classroomsduringandfollowingsixweeksofinstructionofpeer
interactioninterventions.Sixstudentswithmoderatetosevere
disabilitieswereincludedacrosstwoclasses.Allofthestudentswith
disabilitieswereinspecialeducationclassroomsforthemajorityoftheir
schooldayandhaddiagnosesofoneoracombinationofthefollowing:
autismspectrumdisorder,intellectualdisabilities,andorthopedic
impairments.Studentswithdisabilitiesandstudentswithoutdisabilities
wereassignedtopairsandsmallgroupsforthedurationofthestudy.
Allstudentsreceivedinstructionsfromtheteacherandfromvideo
examplesabouthowtoworktogetherandhelpeachother.Avarietyof
musicactivitiesweredesignedforstudentstoworkwithassigned
partnersandsmallgroupsandtochoosepartners.
Resultsindicatethatstudentslearnedtoworktogetherandhelpeach
otherappropriatelywithinstructionandwhenpromptsweregivenprior
toactivities.Studentswithseveredisabilitiesreceivedhelpfromtheir
typicalpeersbutalsoassistedtypicalpeersappropriatelyonoccasion.
Resultsalsoindicatethattypicalpeersmayneedadditionalinstruction
tolearntoprovideappropriateassistancewithoutprompting.
EllaryDraper-EllaryDraperhasworkedasbothanelementarymusic
educatorandmusictherapist.Sheholdsdegreesinmusiceducation
fromWestminsterChoirCollege(B.M.),musictherapyfromFloridaState
University(M.M.),andmusicandhumanlearningfromTheUniversityof
TexasatAustin(PhD).PriortoattendingTheUniversityofTexas,Dr.
Draperworkedasamusictherapistwithavarietyofagesand
populationsoutsideofHouston.Dr.Draper’sresearchinterestsarein
theareasofchildrenwithdisabilities,particularlyininclusivemusic
classrooms.Currently,sheservesastheChairofSpecialEducationfor
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theAlabamaMusicEducatorsAssociationandChairfortheStandardsof
ClinicalPracticeCommitteefortheAmericanMusicTherapyAssociation.
HerresearchispublishedintheJournalofMusicTherapy,Journalof
ResearchinMusicEducation,GeneralMusicToday,andAlaBreve.
LauraBrown-LauraBrownhasextensiveexperienceworkingasamusic
therapistinpublicschoolsandinprivatepracticewithchildrenwitha
widevarietyofdisabilities.Sheholdsdegreesinmusictherapyfrom
AppalachianStateUniversity(B.M.andM.M.T)andinmusicandhuman
learningfromTheUniversityofTexasatAustin(PhD).Herresearch
interestsincludehelpingchildrenwithautismimprovesocialskills
throughmusicandhelpingallchildrenparticipateininclusivemusic
settings.HerresearchispublishedintheJournalofMusicTherapyand
GeneralMusicToday.Dr.BrownisanactivememberoftheAmerican
MusicTherapyAssociationandtheNationalAssociationforMusic
Education.
JudithJellison-JudithJellison,adevotedadvocateforqualitymusic
experiencesforchildrenininclusivesettings,firstworkedasamusic
teacherinclassroomswithdiversepopulationsofchildrenandthenasa
musictherapist.Theseexperiencesshapedherphilosophy,guidingher
laterworkasfounderandDirectorofMusicTherapyatTheUniversityof
MinnesotaandnowasProfessorofMusicandHumanLearningatThe
UniversityofTexasatAustin.Anactiveresearcherandcontributorto
professionalorganizations,shehasservedontheeditorialboardsofthe
JournalofResearchinMusicEducationandtheJournalofMusicTherapy
andistherecipientoftheSeniorResearcherAwardfromtheNational
AssociationforMusicEducationandthePublicationsAwardfromthe
AmericanMusicTherapyAssociation.Herpublicationsappearin
premierejournalsandherrecentbookIncludingEveryone:Creating
MusicClassroomsWhereAllChildrenLearn,ispublishedbyOxford
UniversityPress.
Dr.EllaryDraper,AssistantProfessorofMusicTherapySchoolofMusic,TheUniversityofAlabama,Tuscaloosa,AL,USA.
eadraper@ua.edu
Dr.LauraBrown,AssistantProfessorofMusicTherapySchoolofMusic,OhioUniversity,Athens,OH,USA.
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BrownL5@ohio.edu
Dr.JudithJellison,RegentsProfessorinMusicandHumanLearningandDistinguishedTeachingProfessor
CenterforMusicLearning,ButlerSchoolofMusic,TheUniversityofTexasatAustin,Austin,TX,USA.
jjellison@austin.utexas.edu
10.15am–11.00am–Workshop7
Kodaly-Based Music Activities for Children with an Autism Spectrum
Dr. Maritza “M” Sadowsky
Abstract
TheKodályMethodusesachild-developmentalapproachtosequence,
introducingskillsinaccordancewiththecapabilitiesofthechild.New
conceptsareintroduced,beginningwiththeeasiest,andbecome
progressivelymoredifficult.Conceptsareconstantlyreviewedandreinforcedthroughgames,movement,exercises,andsongs.ThisworkshopdemonstrateshowtheKodályMethodcanbeusedin
developingmusicactivitiesforstudentsingradeK-6whoarediagnosed
withanautismspectrumdisorder(ASD)andareinaself-containedclassroom.Thesestudentsmayhavecomplexcommunicationchallengesornotspeakatall.ThepresentershavecreatedandadaptedactivitiesbasedontheirownmusicexperienceswiththeKodálymethodology.
TheKodályMethodisanexperienced-basedapproachthatwascreatedtoempowerallpeopletobemusicallyliterate.Inthismethod,literacyis
definedastheabilitytoread,write,perform,compose,andimprovise
music.Themethodisbasedonaspecificsequenceofrhythmic,melodic,
harmonic,andformalconcepts,whicharetaughtwithanunderstanding
oflearningtheoriesandchilddevelopment.
Theactivitiespresentedinthisworkshopwillincorporatesinging,folk
music,solfegeandmusicliteracywhilealsoworkingtowardthe
student’sindividualizedspecialeducationgoals.Theactivitiesalso
incorporateinteractiveapps,whiteboards,andothervisualaidstoassist
thestudentsinassociatingimagerywithsong,dance,andinstruments.
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Theyareintendedtomakegeneralmusicteachers’instructioneasierandimprovetheirskillsinadaptingspecificstrategiesfromboththespecialeducationandKodálypedagogiestoenhancetheirownlesson
plans.Theyengage,providequalitymusiceducationforallstudents,andmeettheneedsofeachchild.Inaddition,theKodálymethodisbasedon
singingactivitiesthatcouldfacilitateyoungchildren'ssocialdevelopment.ThustheapplicationofKodály �-basedmusicactivitiesis
appropriatetoenhancethejointattentionbehaviorsofchildrenwith
autism.Participantswillreceiveahandoutincludingtheactivities
presented.
MaritzaSadowsky-Dr.MaritzaMascarenhasSadowskywasborninRio
deJaneiro,BrazilandhasearnedaD.M.A.degreefromtheUniversityof
MiamiandaM.A.degreeinMusicfromtheUniversityofPittsburgh.An
accomplishedpianistandinternationallecturer,MaritzaSadowsky,or
Dr.“M”,hastaughtgeneralmusictogradespre-Kthroughcollegeandis
currentlyavocalmusicteacheratJamestownElementarySchool,in
Arlington,VA.Since2007,herfocushasbeenteachingmusictochildren
whohavebeendiagnosedwithanautismspectrumdisorderandareina
self-containedclassroomsetting.Here-books:“TheTaleofGuido
D’Arezzo”and“JP’sSousaphone”werepublishedinJune2015andJune
2016byAlfredMusic.Inadditionshehasreceivedthe2004Bettie
KreigerAwardforBestMusicEducatorinNorthernVirginia.
Dr.MaritzaMascarenhasSadowskydoctorm@verizon.net
www.maritzasadowsky.com
COFFEE BREAK 11.00am – 11.30am
11.30am–1.00pm–ImagineTheFuturePerformancesPresentationsPart1
Vollgas Connected
Robert Wagner Musikschule Fu ̈rth e.V
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TheMusicSchoolFürth`suniqueProjectinGermany“BerufungMusiker”
(ProfessionMusician)whereyoungpeoplewithintellectualdisabilities
havethechanceofanapprenticeshipasmusicianshasbeen
tremendouslysuccessful.Theband“Vollgas”,whoparticipatedinthe
firstflighthasbecomeoneofthemostwantedbandsinGermanysince
itsfoundationintheYear2009.Amongstothertriumphstheyrockedthe
BavarianParliament,theBavarianStateChancellery,theFederal
CongressoftheMusicSchools(VdM)andtheyevenplayedforthe
GermanParliamentinBerlin.
“Vollgas”isnonethelessnotaclosedcircuitbandbutispreparedto
playwithothergroupsofdifferenttypes,whetheritbepupils,teachers
orotherensemblesoftheMusicSchoolorevenprofessionalmusicians
liketherenownedgroupQuadroNuevo.
Since2010“Vollgas”playsregularlywiththeMusicSchoolensemble
“Flugs”underthename“Vollgasconnected”.Jointworkinggroupsat
weekendsandduringconcerttoursthroughouttheFederalRepublic,
normallyaccompaniedbypupilsoftheHallemannSchool–aschoolfor
specialneedsinFürth–havehelpedtheyoungscholarstobecomea
collectivewhichissecondtonone.Theyinspireeachother,learning
fromandwitheachother.Theycauseduringtheirperformances,dueto
theirmusicalcapabilitiesandtheirveryapparentjoyofthemusic,the
outbreakofhighemotionsandrapturousapplauseintheaudience.
Theteachingmethodsaswellastheteachingmaterialswhichhavebeen
developedinourschoolarelookeduponasbeinggroundbreakingby
manyinstitutionsforadvancededucationanduniversitiesinGermany,
AustriaandSwitzerland.VollgasConnected(Leaders:UschiDittus,
DanielaHolweg,RobertWagner)HallemannSchool(AlexHamilton)
Performers
TobiasGehring,MatthiasNoras,StephanSchweidler,TyroneVickers,
LisaDahlmann,ReimundGerbl
Allmusiciansareemployeesinaprotectedoccupationcentre
(Werkstatt)oftheLebenshilfeFürth,anorganisationforpeoplewith
specialneeds.
AnnaDollinger,MadinaFrey,HannaSchmitzer,LiviaHofmann,Klara
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Andres,EmmaSchmitzer,VanessaKaufmann,HannahEssigkrug,Erik
Zant,AndreasWuttke,MoritzBeckedahl,PeterSöllner,CorinnaBühl,
MarkusDollinger,TanjaMeier,SimonSchmitz
AllmusiciansinthebandarepupilsoftheMusicSchoolFürth.
----
South West Open Youth Orchestra
Doug Bott and Barry Farrimond
TheSouthWestOpenYouthOrchestraistheUK’sfirstdisabled-led
regionalyouthorchestra,offeringaradicalnewprogressionroutethat
willforeverchangeattitudesto,andprovisionfor,aspiringyoung
disabledmusicians.EstablishedbyOpenUpMusicinSeptember2015,
theSouthWestOpenYouthOrchestrahasalreadydemonstratedits
effectivenessinraisingaspirationsthroughperformancesattheHouse
ofCommons,BristolCathedralandonBBCMusicDay.Inthissession,
BarryFarrimondandDougBottwillshareinsightsontheorchestra'sfirst
year,showingperformancefootageandunveilingbrand-newcase-study
filmsaboutthemusicians.
http://openupmusic.org/swoyo
#SWOYO
DougBott-Doughasspecialisedinmakingmusicmoreaccessiblefor
disabledpeoplesince2000.Withextensiveexperienceasamusic
leader,artsmanager,consultantandtrainerforarangeoforganisations,
includingDrakeMusic,TheBritishParaorchestra,SingUp,YouthMusic
andMusicalFutures,heco-foundedOpenUpMusicwithBarry
Farrimondin2014.Dougisaregularspeakeronmusicanddisability
nationallyandinternationally,andhasservedasajudgefortheOHMI
Trustcompetitionsince2013.AsMusicalDirectorofOpenUpMusic,he
workscloselywithyoungdisabledmusiciansto“redefinetheideaofThe
Orchestra”;motivatedbyaconvictionthatmusictechnologynotonly
hasthepowertomakemusicmoreaccessible,butalsohasthepotential
togenerateexcitingnewmusicalforms.www.openupmusic.org
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BarryFarrimond-BarryFarrimondhasover10yearexperience
developing,strengtheningandleadingsocialenterpriseandthird-sector
artsorganisations.Respectedasanauthorityonthedevelopmentand
applicationofaccessiblemusictechnology,heco-foundedOpenUp
Musicin2014withMusicalDirectorDougBott.DuringhistimeasChief
ExecutiveforOpenUpMusichehasoverseenarangeofambitious
projectsincludingthelaunchoftheUK’sfirstOpenSchoolOrchestras
andtheformationoftheSouth-WestOpenYouthOrchestra(theUK’s
firstdisabled-ledregionalyouthorchestra).In2011hewasleadauthor
fortheNationalFoundationforYouthMusictopicalreviewdocument
“EngagementwithTechnologyinSpecialEducational&DisabledMusic
Settings”andisaregularspeakeronthesubject.Barryisdrivenbya
beliefthatyoungdisabledmusiciansdeservemoreaffordable,
expressivemusicalinstrumentsandbetteropportunitiestoprogressin
thearts.
Orchestraperformingonfilm
AshleighTurley-piano/keyboards
BenPollard-LinnStrument
BradleyWarwick-Clarion(EyeGaze)
ConnorLee-piano/keyboards
GeorgeRoberts-Clarion(SmartNav)
---
The Gloves Are On
Kris Halpin
KrisHalpinwilltalkabouthisexperienceofworkingwithDrakeMusicas
anartist,andshowcasethegroundbreakingMiMuGloves
KrisHalpin-WorkingwithDrakeMusicandgrammyawardwinning
musicianImogenHeap,KrisbeganusingtherevolutionaryMiMuGloves
toreimaginehismusicianshipthroughagesturalinterface.Krisisthe
firstartisttouseHeap’stechnologyinanaccessiblecontext,andhis
workhasbeencoveredextensivelyinmainstreammediawith
appearancesinTheGuardianandTheIndependent,aswellas
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appearancesonBBCRadio1andBBC1.Hisshow,TheGlovesAreOn,
hastouredtheUKandEuropeshowcasingthisincredibleperformance
technology.KriswillbeatISMEtoperformandtalkabouthis
groundbreakingworkattheintersectionbetweenmusic,technologyand
disability. www.drakemusic.org
---
LUNCH 1.00pm – 2.00pm
2.00pm–3.30pm–ImagineTheFuturePerformancesPresentationsPart2
Resonaarigroup
Markku Kaikkonen
Resonaarigroup,consistsoffivemusiciansdefinedasdisabledpeople.
Thesesixmusicianspracticeandperformasagroup;twoofthemwork
asfreelancemusiciansatthemomentandthreeofthemarehired
permanentlybySpecialMusicCentreResonaariasmusicians,co-
teachersandtrainers.
Resonaarigroupistakingthestageasartistsonaparwithothers.This
positiveongoingchangeinculturallifeisnotonlyaffectingthedefinition
ofdisabilityandattitudes;itisalsochangingtheconceptofthemusician
andmakingthewholeculturalfieldmoredemocratic.
www.resonaari.fi
MarkkuKaikkonenworksasadirectoratSpecialMusicCentre
Resonaari.HereceivedhisMMus(musiceducatorandtherapist)at
SibeliusAcademy(Helsinki,Finland)andaccomplishedAdvancedStudies
inDanceandMusicPedagogyatUniversityMozarteum’sOrffInstitute
(Salzburg,Austria).Heisaco-author/editorofdozensmusiceducation
booksandarticles.Over50ofhissongsforinstrumenttuitionandearly
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childhoodmusiceducationhavebeenpublished.Mr.Kaikkonenisa
guestlecturerincontinuingeducationprogramsinFinlandandabroad.
HeisaboardmemberofFinnishSocietyforMusicEducationandConcert
CentreFinland.HeservesasachairinCommissiononSpecialMusic
Education&MusicTherapyofInternationalSocietyforMusicEducation
ISME.
Performers
JaakkoLahtinen–keyboards+vocal
TomiLehtimaa–keyboards
JuhoLähteenmäki–guitar
JoonasPalkeinen–bass
MarloPaumo–drums+vocal
---
IMAGINE - A Glimpse to the Future of Music Education
Roy Tal, Creative Director, IMAGINE ISRAEL
ImagineisanIsraeliNPOtheempowerspeoplewithspecialneedswith
music!
Inthisworkshop,participantswillglimpseintonewteachingmethods
andinventivemusicaltechnologiesthathavechangedtheworldof
musiceducationforstudentswithdisabilities,andopenednew
possibilitiesforcreatingmusicregardlessofone'sability.Theworkshop
isdesignedformusiceducatorswhoworkwithpeoplewithdisabilities.
RoyTal-Royis32yearsoldfromTel-Aviv,Israel.
Ownedarecordingstudio,managedmanyofIsrael’sleadingartistsand
musicians.
ProducedandhostedthefirstIsraeliFacebookLive-MusicShowfor92
episodes(over250,000viewers).
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Hisfirstsocialactivitywaspartofthecreationof'24hoursinCaptivity'
LivestreamingeventforGiladShalithostagereleaseawareness(500,000
viewersandvastpresscoverage).
Beganvolunteeringin'Akim'andestablishedamusicalgroupof6
autisticsingers,performedalloverthecountryfor3years.
Attheageof30losthismotherduetopancreaticcancerandthatevent
changedhislifeandhebeganpursuingasocialactivistlifeof
empoweringthroughmusic.
HeistheCo-FounderandCreativedirectorofIMAGINEwhichisanew
andinnovativeNPOtopromotetheagendaofempowermentand
inclusionthroughmusicforvariouspopulationsinneedforpositiveand
inspiringexperiences.
IMAGINEteachesdevelopsandempowersmusicalabilitiesin
populationswithdisabilitiesthroughinnovativeteachingmethodsand
cuttingedgetechnologyinstrumentsthusenablingallpeopleregardless
oftheirage,physical,emotionalorcognitivestatetocreatemusicand
beapartofthecommunitythroughsocialmusicalactivity.
Imagineisoneofakindworld-wideorganisation.
http://www.imagine.org.il/home-eng/
---
Digital Orchestra
Pete Sparkes, Artistic Director, Drake Music Scotland
DigitalOrchestraisDrakeMusicScotland’sexperimental,ground-
breakinggroupofmusicianswhoallperformusingdigitalandelectronic
instruments.Attheheartoftheorchestraisadesiretocomposeand
performnewmusicandtoday’sperformancewillfeaturetwonewworks
“ImaginetheFuture”and“TheBeginning”.Thissessionwillalsoinclude
opportunitiesfortheaudiencetolearnhowsomeofthedifferentmusic
technologiesarecombinedtocreatetheorchestraandhearfromsome
ofthemusiciansabouttheirexperiencesintheorchestra.
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DigitalOrchestrawillopenthemainISMEConferencewithScottish
Opera,NationalYouthChoirofScotlandandTheRoyalConservatoireof
ScotlandonSunday24thJuly.
PeteSparkes-PetehasledtheartisticprogrammeofDrakeMusic
Scotlandsince2010,thisperiodincludinghighprofilenewcommissions
incollaborationwiththeScottishChamberOrchestra,RoyalScottish
NationalOrchestra,NationalYouthJazzOrchestraofScotlandand
TechnophoniabyOliverSearlepartofthe2012CulturalOlympiad.
Hisspecialismisworkingcreativelywithchildrenandadultswith
AdditionalSupportNeeds–includingtheuseofmusictechnologyand
otherinnovativetoolslikeFigurenotesnotationfromtheResonaari
SchoolinFinland.
HedeliverstrainingandprofessionaldevelopmentforDrakeMusic
Scotlandandisindemandasaspeakeratmusiceducationconferences.
Healsoco-leadsacourseattheRoyalConservatoireofScotlandwith
composerOliverSearle:CreativeCompositionwithDrakeMusic
Scotland.
PetewasEducationOfficeroftheScottishChamberOrchestrafrom
2002-2005andhasdeliveredcreativeprojectswiththeScottishBook
Trust,ScottishChamberOrchestra,BBCScottishSymphonyOrchestra,
ArtlinkCentral,andJessie’sFund.
PerformersandTeam
DIGITALORCHESTRA
ChrisJacquin
NeilPatterson
JosephCox
RyanCuff
ErinO’Neill
RhonaSmith
DonnaO’Hara
AndrewGiffin
StevenThornton
StephanieForrest
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DRAKEMUSICSCOTLAND
PeteSparkes
RickBamford
LesleyCrawford
AliGillies
ClareJohnston
MoiraThorburn
---
3.30pm–4.00pm–CertificatesandClosing
END OF DAY FOUR
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ISME Commission on Special Music Education and Music
Therapy ConferenceandAbstractsbookcoordinatedandorganisedbyEmma
Lines,ProgrammeManager,DrakeMusicScotland
emmalines@drakemusicscotland.org
Board Liaison Dr.KimberleyMcCord-UnitedStates
Commissioners MarkkuKaikkonen,Chair-Finland
MelitaBelgrave–UnitedStates
Hsiao-Shen(Jessie)Chen-Taiwan
MichelleHairston–UnitedStates
BoNilsson-Sweden
GiorgosTsiris–UnitedKingdom/Greece
Drake Music Scotland Core Staff ThursaSanderson,OBE–ChiefExecutive
PeteSparkes–ArtisticDirector
EmmaLines–ProgrammeManager
SusanMcNaught–FundraisingManager
RickBamford–SeniorMusicTechnologyOfficer
LaurenClay–FigurenotesOfficer
HildegardeBerwick–Administrator
Representative from Reid School of Music GraemeWilson
Drake Music Scotland Associate Musicians AliGillies
LesleyCrawford
KatieDavies
#ISMESpecialEdMT 149
Drake Music Scotland Volunteers
FarhadAhmed
RachelGorry
ReubenTobiasHodgkin
PennyJackson
SnehaRaman
AilieReid
Thank you! Thankyouallforcomingalongtothe2016ISMEPreConference
SeminarinSpecialMusicEducationandMusicTherapyinEdinburgh.
Thankyoutoallpresentersandperformersandtoeveryonementioned
below.
HostsDrakeMusicScotland
&
ReidSchoolofMusic,EdinburghCollegeofArt,UniversityofEdinburgh.
VenueEdinburghFirstforlookingafterusallduringourconference.
#ISMESpecialEdMT 150
DelegateBagDonations• Nairns
• Dean’sShortbread
• Tunnocks
• CreativeScotland(forbags,pensandnotebooks)
• LothianBusesforthe‘RoyalEdinburghTicket’discount
• MercatToursforthediscounts
• HistoricScotlandforthe‘HolyroodParkMaps’
• ConventionEdinburghforthe‘EdinburghRewardsPassport’
• CentralTaxis,ScottishWhiskyExperience,and
welcometoscotland.comforotherinformation.
HireCompanies• TheWarehouse
• MCLCreate
• Apex
Funders
• CreativeScotland
• CityofEdinburghCouncil(forDrakeMusicScotland’sworkin
Edinburgh)
• TheDaisyChainTrust(forDrakeMusicScotland’sworkin
Edinburgh)
• TheRadcliffeTrust(forDrakeMusicScotland’sworkDigital
Orchestra)
• SchuhTrust(forDrakeMusicScotland’sworkDigitalOrchestra)
• MorrisonsFoundation(forDrakeMusicScotland’sworkDigital
Orchestra)
• TheStevenstonTrust(forDrakeMusicScotland’sworkDigital
Orchestra)
AdditionalSupport
#ISMESpecialEdMT 151
ISME Commission on Special Music Education and Music
Therapy
ThecommissiononSpecialMusicEducationandMusicTherapywas
establishedinordertocontributetotheprogressivedevelopmentof
specialmusiceducation,musictherapy,musicinspecialeducationand
otherrelatedfieldsofpracticewhichexaminetherelationshipbetween
music,health,publichealthandwell-being.Thecommissionseeksto
promoteinter-disciplinarycommunicationandexchangebetween
practitionersandscholarswhoareinvolvedinthesefields.
ThecommissiononSpecialMusicEducationandMusicTherapywas
established1974(anduntil2014itwasknownas“Thecommissionon
MusicinSpecialEducation,MusicTherapyandMusicMedicine”).
Vision• topromoteandadvocateforstudentsinneedofspecialsupport—to
ensuretheyareaffordedthesamequalitymusiceducationandpractices
asthatoftypicaldevelopingstudents;
• toshareinternationalperspectivesonthecurrentresearchinspecialmusiceducationandmusictherapy;
• toenhancethequalityoflifeforallchildrenandadultsinneedofspecialsupportbysharinginternationalpracticesinspecialmusic
educationandmusictherapy;
• toimproveprofessionaltraining/educationofpractitionersworkingin
specialmusiceducationandmusictherapy;
MissionInordertopromotemusicinthelivesofallchildrenandadultsinneed
ofspecialsupportourmissionisto:
• provideaninternationalforumfortheexchangeofideasregardingthe
educationalandtherapeuticprofessions,andtheirplacewithineach
country'smusicalculture;
• increasethevisibilityofinternationalresearchandbestpracticesinthefieldsofspecialmusiceducationandmusictherapy;
• stimulateinternationalresearchconnectionsandtheinitiationof
internationalpracticeandeducationprojects(e.g.exchangeprograms)
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betweencommissionmembers;
• sharecontemporarytechnologiesandproductsthatenhancethe
musicallivesofchildrenandadultsinneedofspecialsupport;
• providesupportformusiceducatorsandmusictherapistsnewtotheir
professionsviamentoringinbothresearchandbestpractices,
networkingatseminarmeetingsandtheworldconference;aswellas,
betweenmeetings;
• informthoseresponsibleforfundingandpolicymakingofthe
significanceofmusicforchildrenandadultsinneedofspecialsupport
INTERNATIONAL SOCIETY FOR MUSIC EDUCATION
TheInternationalSocietyforMusicEducation(ISME)believesthatlived
experiencesofmusic,inalltheirmanyaspects,areavitalpartofthelife
ofallpeople.
ISME’smissionistoenhancethoseexperiencesby:
•buildingandmaintainingaworldwidecommunityofmusiceducators
characterizedbymutualrespectandsupport
•fosteringglobalinterculturalunderstandingandcooperationamong
theworld’smusiceducators
•promotingmusiceducationforpeopleofallagesinallrelevant
situationsthroughouttheworld.
ISME-LeadingandSupportingMusicEducationWorldwide
•affiliatedtotheInternationalMusicCouncilandUNESCO
•presentinovereightycountries
•thepremiereinternationalorganisationformusiceducation
•respectsallmusicsandallcultures
•believesthateveryindividualhasarighttomusiceducation
Jointheglobalfamily-BECOMEANISMEMEMBERatwww.isme.org
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