welcome to the special music education...the special music education seminar in 2016 is dedicated to...

#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!

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TheSpecialMusicEducationseminarin2016isdedicatedtoJanet

Montgomery,whopassedawaythisspring.Shewasanearlyleaderin

specialmusiceducationpositionsandworkedasapioneerinthefield.In

addition,shewasthechairoftheSpecialMusicEducation&Music

TherapyCommissionformostofthe1980’sthrough2002.

MarkkuKaikkonenChairISMECommissiononSpecialMusicEducation&MusicTherapy

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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

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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

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This

year’s

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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.

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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

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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


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


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

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4.00pm–4.30pm Paper20-LearningDisabilitiesandMusic–KimMcCord


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



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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


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


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


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

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7.00pm–7.45pm Workshop5-Makingmusicinaself-determinedway:Ideals

ofInclusioninmusicteachingpractice-RobertWagner

7.45pm–8.30pm Workshop6-STOP:EnhancingExecutiveFunctionsthrough

MusicLearning–ElaineBernstorf

EndofDayThree



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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


11.30am–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–2.30pm 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



#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


11.30am–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


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


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

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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


#ISMESpecialEdMT 17

otherinnovativetoolslikeFigurenotesnotationfromtheResonaari

SchoolinFinland.

HedeliverstrainingandprofessionaldevelopmentforDrakeMusic

Scotlandandisindemandasaspeakeratmusiceducationconferences.

Healsoco-leadsacourseattheRoyalConservatoireofScotlandwith

composerOliverSearle:CreativeCompositionwithDrakeMusic

Scotland.

PetewasEducationOfficeroftheScottishChamberOrchestrafrom

2002-2005andhasdeliveredcreativeprojectswiththeScottishBook

Trust,ScottishChamberOrchestra,BBCScottishSymphonyOrchestra,

ArtlinkCentral,andJessie’sFund.

www.drakemusicscotland.org

[email protected]

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


#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

[email protected]

Workshop2

'The Clarion' - a quantum leap in accessible music technology

Barry Farrimond, OpenUp Music


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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

[email protected]

COFFEE BREAK 11.00am – 11.30am

11.30am–12.30pm–ImaginetheFutureWorkshopsChooseoneofthefollowing(maximumnumbersapply)–Choicesshould

bemadeatregistrationondayone


#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/

[email protected]

Workshop4

Figurenotes© and everybody can play

Markku Kaikkonen, Director, Special Music Centre Resonaari


#ISMESpecialEdMT 21

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


#ISMESpecialEdMT 22

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

[email protected]

www.figurenotes.com

Figurenotes resources from Drake Music Scotland

Lauren Clay

LaurenClay–LaurenisDrakeMusicScotland’sFigurenotes

Officer,managinganddeliveringapopularandwide-rangingprogramme

oftrainingforteachersandmusicpractitioners.Shehasalsobeen

responsibleforthedevelopmentofawardwinningresources(BestSEN


#ISMESpecialEdMT 23

Resource,MusicTeacherAwardsforExcellence).Sinceshestartedher

rolein2012,DrakeMusicScotlandhasdevelopedacommittednetwork

ofFigurenotersacrosstheglobeandshelovesnothingmorethan

hearingabouthowthiswonderfulnotationhashelpedpeopletoplay

music.

Laurenisalsobusyasafreelanceviolinistandteacher;thispractical

experienceensuresshehasvaluableinsightintowhatteachersand

musiciansneedintheirwork.Sheispassionateaboutmusicandstrongly

believesthatnothingshouldactasabarriertomusicmaking.

www.figurenotes.org

[email protected]

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


#ISMESpecialEdMT 24

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


#ISMESpecialEdMT 25

education,fullinclusionmusiceducation,andsupervisionofmusic

therapystudentsintraining.Sheisarecipientofthe2015American

MusicTherapyAssociationLifetimeAchievementAward,the2013

UniversityofIowaCollegeofLiberalArtsandSciencesOutstanding

OutreachandCommunityEngagementAward,andthe2011American

MusicTherapyAssociationAwardofMerit.

[email protected]


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


#ISMESpecialEdMT 26

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.

[email protected]

LUNCH 1.30pm – 2.30pm


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


#ISMESpecialEdMT 27

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,


#ISMESpecialEdMT 28

ClassicalMusic

Chen,Ching-Chieh-AppliedScienceandTechnologyNationalTaiwanUniversityofScienceandTechnology

[email protected]

Dr.Wang,Wei-Chun-AssociateProfessor,DepartmentofHumanities

andSocialSciencesNationalTaiwanUniversityofScienceand

Technology

[email protected]


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,


#ISMESpecialEdMT 29

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).


#ISMESpecialEdMT 30

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.

[email protected]


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


#ISMESpecialEdMT 31

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


#ISMESpecialEdMT 32

fromTaipeiNationalUniversityoftheArtsin2015.Shehasworkedon

Orff-Schulwerkfor16years.

Since2013,shehadbeenteachinginsupportivegroupforfamiliesof

dementiawiththecreativedancetohelpthedementiaoffamily

caregiverstoreleasetheirmentalpressure,emotionandretainthe

positivephysicalstrength.Ms.Chiangfindsthatcreativedanceis

applicabletoallages.Thereforeshestartedtoapplycreativedance

teachingtoeldersandthefamilycaregivers,andsheexpectstohelp

differentgroupswithherdancecoursedesigntoreachphysical-

psychologicalhealthneededpeople.

Chiang,Kuang-Tsu,GraduateInstituteofAppliedScienceand

Technology,

NationalTaiwanUniversityofScienceandTechnology

[email protected]

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

[email protected]


#ISMESpecialEdMT 33


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.


#ISMESpecialEdMT 34

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

[email protected]

COFFEE BREAK 4.30pm – 5.00pm


Collaborating with Special Educators

Mara E. Culp

BackgroundCollaboratingwithSpecialEducators

Studentswithspecialneedshavebeenmoreprevalentininclusive

classroomsettingssincethepassageoftheIndividualswithDisabilities

EducationActin1975.Yet,studentswithspecialneedscouldbedenied


#ISMESpecialEdMT 35

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


#ISMESpecialEdMT 36

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

[email protected]

5.30pm–6.00pm–BookLaunch

Exceptional Pedagogy for Children with Exceptionalities: International Perspectives

Deborah VanderLinde and Kim McCord


#ISMESpecialEdMT 37

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


#ISMESpecialEdMT 38

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


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


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


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



#ISMESpecialEdMT 42

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


#ISMESpecialEdMT 43

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

#ISMESpecialEdMT 44

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.

[email protected]

[email protected]

[email protected]


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.


#ISMESpecialEdMT 45

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


#ISMESpecialEdMT 46

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.

[email protected]

[email protected]

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


#ISMESpecialEdMT 47

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.


#ISMESpecialEdMT 48

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


#ISMESpecialEdMT 49


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?


#ISMESpecialEdMT 50

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.

[email protected]


#ISMESpecialEdMT 51

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


#ISMESpecialEdMT 52

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,[email protected]



#ISMESpecialEdMT 53

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


#ISMESpecialEdMT 54

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


#ISMESpecialEdMT 55

ResearchinMusicEducation,andInternationalJournalofMusicEducation.SheiscertifiedasaNeonatalIntensiveCareMusicTherapist.








integratedgroupsinclinicalpractice.Sheisco-authorMusicinSpecialEducation,MusicTherapyandGeriatricPopulations,andeditor

ofIntroductiontoApproachesinMusicTherapy.ShehasbeentherecipientofresearchandclinicalpracticeawardsfromtheAmerican

MusicTherapyAssociation,andateachingawardfromtheFloridaMusic



[email protected]

[email protected]

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


#ISMESpecialEdMT 56

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


#ISMESpecialEdMT 57

includesartsintegrationthroughouttheschooldayandpreparesan

extensivemusicalplaywithhis4thgradestudentsannuallyaswell.

Dr.BethanieL.Hansen,AssociateProfessorandFacultyDirector,SchoolofArts&Humanities,AmericanPublicUniversitySystems,

CharlesTown,WV,[email protected]

http://www.apu.apus.edu/index.html

Mr.JeffW.Hansen,TeacherinBoiseSchoolDistrict,Boise,ID,U.S.A.,andGraduateStudentinEducationalLeadershipatAmericanPublic

University,CharlesTown,WV,[email protected]

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.

[email protected]

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.

[email protected]

[email protected]

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.

[email protected]

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.

[email protected]

MarkBelfast–[email protected]

EmilyBrown–[email protected]

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,[email protected]

JasmineVanWeeldenMA,CourtauldInstituteofArt,London,UK,

[email protected]

JuliaD.Heath-ReynoldsAssistantProfessor,MusicEducationIndianaStateUniversity

TerreHaute,[email protected]


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LauraMeehan

BoardCertifiedMusicTherapist—NICU-MTMusicEducator—SpecialEducationEducator

[email protected]

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









[email protected]

[email protected]

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,[email protected]


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RobertRoccoProfessor,KeanUniversity

Union.NJ,[email protected]

NicoleOlearchik

Senior,MusicEducationMajor,KeanUniversityUnion.NJ,USA

[email protected]


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









integratedgroupsinclinicalpractice.Sheisco-authorMusicinSpecial

Education,MusicTherapyandGeriatricPopulations,andeditorof

IntroductiontoApproachesinMusicTherapy.Shehasbeentherecipient

ofresearchandclinicalpracticeawardsfromtheAmericanMusic

TherapyAssociation,andateachingawardfromtheFloridaMusic


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[email protected]

[email protected]


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,[email protected]

http://www.artsequal.fi

http://www.resonaari.fi


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.

[email protected]

Paper19

Disabled and Discouraged

George Low

Unabletoattend


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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.

[email protected]

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.

[email protected]

www.musicallhazelwood.org.uk


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

[email protected]

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

[email protected]

DrPhilippaDerrington,QueenMargaretUniversity

[email protected]

PeteSparkes,[email protected]

DrNetaSpiro,NordoffRobbins&[email protected]

DrGraemeWilson,[email protected]


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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

#ISMESpecialEdMT 90

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


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


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


5.00pm–5.30pm Paper34-Singingandlearning:Musicininclusiveearly

childhoodsettings–PotheiniVaouili

5.30pm–6.15pm Workshop3-FiguringOut’Figurenotes:Rewardsand

ChallengesinImplementingFigurenotesNotationinthe

GeneralMusicClassroom-NancyO'Neill,KimberlyMcCord


#ISMESpecialEdMT 91

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



#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,


#ISMESpecialEdMT 93

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

[email protected]

www.liquidvibrations.org.uk


Music Programs within Schools for the Deaf: A Preliminary Investigation into the Role of Music in Deaf Culture


#ISMESpecialEdMT 94

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


#ISMESpecialEdMT 95

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.

[email protected]


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


#ISMESpecialEdMT 96

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


#ISMESpecialEdMT 97

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.

[email protected]


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


#ISMESpecialEdMT 98

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-


#ISMESpecialEdMT 99

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


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


#ISMESpecialEdMT 100

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.

[email protected]

[email protected]

[email protected]

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



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)[email protected]

DirectorofNationalInstituteforInfantandChildMedicalMusicTherapy

http://www.music.fsu.edu//Areas-of-Study/Music-

Therapy/Certifications/NICU-MT


11.00am–11.30am–Paper28



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

[email protected]



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.



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



[email protected]

IdaWestbergM.Ed.

MalmöAcademyofMusic,UniversityofLund,[email protected]

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)



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).



LecturerattheOrff-Institute,Salzburgsince1984(“MusicandDancein

theCommunityandinInclusivePedagogy”)wheresheteacheson

summercourses,directsaprofessionaldevelopmentcourseandis

directorofthecourse“AdvancedStudiesinMusicandDanceEducation

–Orff-Schulwerk”.Shegivesworkshopsandlecturesnationallyand

internationallyandhaspublishedbooksandnumerousarticlesin

journals.

OrffInstitute,MozarteumUniversity,Frohnburgweg55,5020Salzburg,Austria

[email protected]

www.orffinstitut.at

https://www.moz.ac.at/department.php?o=18645&l=en


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



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.

[email protected]

860-428-0074




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



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.

[email protected]




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.



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.



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.



[email protected]

[email protected]

[email protected]


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.



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



ProfessorinEarlyChildhoodEducation.Dr.Geisthasteaching

responsibilitiesintheEarlyChildhoodEducationprogram,theConnivino

HonorsProgramandtheDoctoralprograminCurriculumand

Instruction.Hisareasofexpertiseincludechilddevelopment,

constructivism,andthedevelopmentofmathematicalknowledgein

youngchildren.pment,constructivism,andthedevelopmentof

mathematicalknowledgeinyoungchildren.

KamileGeistAssociateProfessorofMusicTherapy

[email protected]

https://www.ohio.edu/finearts/faculty-

staff/profiles.cfm?profile=D875C664-5056-A800-489BE7CEE0708A1A

EugeneGeistAssociateProfessorofEarlyChildhoodEducation

OhioUniversity

[email protected]

https://www.ohio.edu/education/faculty-and-

staff/profiles.cfm?profile=16460053-5056-A800-48F9B41696C989AA


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



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



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.

[email protected]

http://мпгу.рф/graduates/toropova-alla-vladimirovna/

[email protected]


5.00pm–5.30pm–Paper34Singing and learning: Music in inclusive early childhood settings



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.



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.

[email protected]


Figuring Out’ Figurenotes: Rewards and Challenges in Implementing Figurenotes Notation in the General Music

Classroom

Nancy O'Neill, Kimberly McCord

Asclassroomsarestrivingtobecomemoreinclusiveforstudentswith

exceptionalities,musiceducatorsneedtofindconcreteandpractical

waystoprovideallstudentswiththeopportunitytocreateandperform



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



andadultswithdisabilities.SheisanISMEBoardmember,founderand

firstchairoftheJazzSpecialInterestGroup,andisthepastchairofthe

ISMECommissiononMusicinSpecialEducation,MusicTherapyand

MusicMedicine.ShefoundedandwasthefirstchairoftheNational

AssociationforMusicEducationSpecialResearchInterestGroupon

ChildrenwithExceptionalities.McCordrecentlyco-editedExceptional

MusicPedagogyforChildrenwithExceptionalitieswithDeborah

VanderLindeandhasanupcomingbook,TeachingthePostsecondary

MusicStudentwithDisabilitiespublishedthisfallforOxfordUniversity

Press.

NancyO'NeillGeneralMusicTeacher

WestfieldCommunitySchoolAlgonquin,Illinois,USA

[email protected]

KimberlyMcCordProfessorofMusicEducation

IllinoisStateUniversityNormal,Illinois,[email protected]

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-



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

[email protected]


Making music in a self-determined way: Ideals of Inclusion in music teaching practice

Presenter: Robert Wagner, Headmaster, school of music,

Fürth, Germany



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



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

[email protected]


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.



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.



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,[email protected]

316-978-6953(office)

www.wichita.edu/music/workshops(forISMEpresentationmaterials)

http://webs.wichita.edu/?u=fa_musiced&p=/bernstorf



END OF DAY THREE


DAY FOUR Saturday 23rd July 2016


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


11.30am–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–2.30pm 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




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.

DAY Four Saturday 23rd July 2016


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.



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.



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









��

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



FloridaStateUniversity.Ms.Veronee'sresearchtopicsincludemusic

teachereducationandtraining,andnon-traditionalmusicclasses.

KimberlyVanWeeldenProfessor,MusicEducationCollegeofMusicFloridaStateUniversityTallahassee,FL32306-1180

[email protected]

LauraSingletaryCollegeofMusic


KennaVeroneeCollegeofMusic



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



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



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.

[email protected]

Dr.LauraBrown,AssistantProfessorofMusicTherapySchoolofMusic,OhioUniversity,Athens,OH,USA.



[email protected]

Dr.JudithJellison,RegentsProfessorinMusicandHumanLearningandDistinguishedTeachingProfessor

CenterforMusicLearning,ButlerSchoolofMusic,TheUniversityofTexasatAustin,Austin,TX,USA.

[email protected]

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.



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.

[email protected]

www.maritzasadowsky.com


11.30am–1.00pm–ImagineTheFuturePerformancesPresentationsPart1

Vollgas Connected

Robert Wagner Musikschule Fu ̈rth e.V



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



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



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



appearancesonBBCRadio1andBBC1.Hisshow,TheGlovesAreOn,

hastouredtheUKandEuropeshowcasingthisincredibleperformance

technology.KriswillbeatISMEtoperformandtalkabouthis

groundbreakingworkattheintersectionbetweenmusic,technologyand

disability. www.drakemusic.org

---


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



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).



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.



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



DRAKEMUSICSCOTLAND

PeteSparkes

RickBamford

LesleyCrawford

AliGillies

ClareJohnston

MoiraThorburn

---

3.30pm–4.00pm–CertificatesandClosing

END OF DAY FOUR



ISME Commission on Special Music Education and Music

Therapy ConferenceandAbstractsbookcoordinatedandorganisedbyEmma

Lines,ProgrammeManager,DrakeMusicScotland

[email protected]

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


Drake Music Scotland Volunteers

FarhadAhmed

RachelGorry

ReubenTobiasHodgkin

PennyJackson

SnehaRaman

AilieReid

Thank you! Thankyouallforcomingalongtothe2016ISMEPreConference

SeminarinSpecialMusicEducationandMusicTherapyinEdinburgh.

Thankyoutoallpresentersandperformersandtoeveryonementioned

below.

HostsDrakeMusicScotland

&

ReidSchoolofMusic,EdinburghCollegeofArt,UniversityofEdinburgh.

VenueEdinburghFirstforlookingafterusallduringourconference.


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


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)


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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