HANSON, T. K. 2020 - Music Education Benefits For Students With Disabilities
HANSON, T. K. 2020 - Music Education Benefits For Students With Disabilities
HANSON, T. K. 2020 - Music Education Benefits For Students With Disabilities
Spark
2020
Recommended Citation
Hanson, Tammy K., "Music Education Benefits for Students with Disabilities" (2020). All Electronic Theses
and Dissertations. 269.
https://spark.bethel.edu/etd/269
This Thesis is brought to you for free and open access by Spark. It has been accepted for inclusion in All Electronic
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1
A MASTER’S THESIS
OF BETHEL UNIVERSITY
BY
TAMMY HANSON
MASTER OF ARTS
DECEMBER 2020
2
BETHEL UNIVERSITY
BY
TAMMY HANSON
APPROVED BY:
DECEMBER 2020
3
ACKNOWLEDGEMENTS
I would like to thank the director, Dr. Katie Bonawitz, and faculty of the Special
Education Department at Bethel University for their patience, time, energy, and concerns with
the completion of my classwork, papers, and Master’s degree. I would like to personally thank
Mr. Charles Strand for his time, patience, and guidance with the completion of my thesis. The
thesis project could not be finished without the commitment, dedication, and leadership of the
director, Dr. Katie Bonawitz, Mr. Strand, and faculty of the Special Education Department at
Bethel University.
I would also like to thank my husband, Todd, for being supportive while completing my
master’s degree in special education. There have been countless hours during the week when I
have been completing readings, papers, and special projects. Surprisingly, there were never any
complaints from Todd. Fortunately, he was available when I had small or big technology
problems. In particular, there were many instances when I thought I had submitted my
assignment and come to find out, I had lost the entire document or thought I had deleted the
entire assignment. This was when I would declare an emergency and call my husband to the
rescue.
Finally, I would like to thank my parents for being available for support, visits, and good
times. Through the years, they have always been there for me. I am extremely thankful to God
for them. They have taught me so much. The most important thing that they have taught me is
to be there always for your family no matter what. Finally, I would like to thank my daughter,
ABSTRACT
Music is so many things! Music is enjoyable, fun, happy, calming, and unpredictable. Music is
also sad, lonely, busy, unsettling, and disturbing. Students of any age can learn so much from
music, such as: learning an instrument; playing in an ensemble, symphony, orchestra, or choir;
learning the history of a composer; playing scales; and learning about music theory. Students
without disabilities learn about music and their instruments by participating in band, orchestra,
choir, ensembles, and general music. Students with disabilities should have the same
opportunities to participate in these musical activities, and be provided with extra support,
persuasion, and/or encouragement. Music is beneficial for all students with and without special
needs. Oftentimes, music educators need an extra hand in making the most of their music classes
to benefit students of all ability levels. Music teachers, administrators, special education
teachers, counselors, paraprofessionals, and general education teachers can all do their part in
providing the best education for our students with special needs so all students benefit from
music education.
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TABLE OF CONTENTS
Title Pages 1
Acknowledgements 3
Abstract 4
Table of Contents 5
Chapter I: Introduction 6
References
6
CHAPTER I: INTRODUCTION
My music connection to God began when I first sang hymns for church services with my
siblings and parents at the age of 4 or 5 years old. My family always attended church unless we
were either on vacation or one of us was sick. My parents were wonderful singers and always
sang the hymns in church. Hearing and singing these hymns every Sunday strengthened my
connection to God through music and beautiful poems. Singing hymns is comforting because we
lesson at five-years-old from an old lady who lived in the country about 5 miles from our farm.
From what I have heard from my family, I loved piano lessons from the beginning and did well.
My best friend, Sara, and I played duets together all through elementary and high school for
recitals and programs. We also played for choirs and musicals beginning in sixth grade through
the twelve grade. I was also fortunate to play for the high school jazz band and pop choir.
After I graduated from college, I found enjoyment as a pianist, organist, and accompanist
for church services. I never thought that I would be playing the piano and organ for church
services. I have had the opportunity to be a church musician for 17 years at four different
churches and do not plan to quit any time soon. Presently, I am an organist/pianist for three
different churches and enjoy every service that I play. Playing the hymns is an inspiration for me
Definition of Music
Music is an art form that combines instrumental or vocal sounds for beauty of form and
(Encyclopedia Britannica, Inc., 2020). Music has many definitions. Individuals can listen to
music, play music, dance to music, and learn about music at just about any age. Music education
is a field of study taught by music educators in elementary schools, middle schools, high schools,
and universities. However, individuals do not need to be in school to learn about music.
Music is all around us. Music is practically in every show and movie that you see. We
listen to music on the radio and television. People dance to music. We attend concerts. We fall
asleep to music. There are many different music genres for just about everyone, such as jazz,
pop, blues, hip-hop, classical, rap, swing, rock ‘n’ roll, folk, ballroom, country, and African
music. We listen to music in orchestras, rock-n-roll bands, choirs, operas, symphonies, musicals,
theater, and even marching bands in parades and sporting events. Music is everywhere and
Benefits of Music
Music is enjoyed by many different people including students with or without disabilities
in our schools. Two important questions to ask and to research are the following: How is music
education beneficial for students with or without disabilities? And, why should students with or
without disabilities participate in music education? According to Pitts (2017), researchers and
practitioners report that some of the benefits of music education for students in schools are
creativity development, social skills, and cognitive benefits. Hallam (2014) reported that music
activities may lead students to feel that they have a sense of accomplishment, enhanced
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persistence and determination, coping skills with anger management, and the ability to express
their emotions more effectively. The report also stated that music enhances psychological
well-being, creativity, empathy, spatial awareness, language and literacy, and school
engagement. If music teaching is not done well, there may be negative outcomes and no benefits
(Hallam, 2014).
The results of Eerola & Eerola (2014) research found in their study of 10 Finnish schools
with extended music education classes that music enhances the quality of school life in the sense
of achievement, student opportunities, and general satisfaction about school. The results
indicated that music education has a positive effect on the social aspect of schooling. The
abilities that develop in music education are transferable to other disciplines. The report found
the following benefits of music education: short-term increases in IQ testing in children ages 6,
11, 16, and even 25 year-olds; quicker processing speeds in foreign language studies and literacy
skills when practicing music; enhances selective attention; and sensitivity to emotions in speech
Students who participate in music ensembles learn how to develop their creativity in their
performances and in practicing their music alone. The social benefits refer to learning to play
music together with your peers, rehearsing/performing with your peers, following and listening
to the director or teacher, and asking questions about the music and their instrument. The
cognitive benefits refer to learning something challenging, new, and being dedicated to your
instrument. The next question is: How is music education beneficial for students with
disabilities?
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Thesis Questions
The Individuals with Disabilities Education Act (IDEA) was previously called the
Education for All Handicapped Children Act (EHA) and active from 1975 to 1990. IDEA states
that all children with or without disabilities will have equal opportunities in education and that
children with disabilities are legally provided with a Free Appropriate Public Education (FAPE)
according to their needs. More and more students with disabilities are being educated with
The ultimate question is: Do students with disabilities benefit from music and/or music
education? If they do benefit: How do students with disabilities benefit from music education?
Looking through the eyes and view of the music educator, the questions are:
1) What can music educators do so that students with disabilities benefit to their full
2) What can colleges and universities do to help prepare potential music educators to
More importantly: 3) What are music teachers doing in their classrooms today?
These are all important questions that educators, administrators, and music teachers need
DEFINITION OF TERMS
Accommodations: Changes made to reduce the effects of a disability without altering the
instructional content or learning expectations for the student and are intended to enable a student
with a disability to fully access the general education curriculum (Wilkinson, 2017).
Assistive Technology (AT): Any device, materials, product system, or piece of equipment that
provides students with disabilities greater access to the general education curriculum and
increases their ability to master academic content, interact with others, and enhance functional
social communication and social interaction, and the presence of restricted and repetitive
behaviors. Symptoms are present during the early developmental period and cause clinically
(Wilkinson, 2017).
Inclusion: A teaching approach that focuses on including students with special education needs
with typical peers in general education classrooms and the school community (Wilkinson, 2017).
ensure that a child who has a disability identified under the law and is attending an elementary or
contains specific information regarding a child’s present level of functioning, educational needs,
goals, service levels and providers, appropriate placements, and measurable outcomes and data
(Wilkinson, 2017).
Individuals with Disabilities Education Act (IDEA): A U.S. federal law that governs how
states and public agencies provide early intervention, special education, and related services to
Joint Attention: The process of engaging another person’s attention to share in the experience
National Association for Music Education (NAfME): Ensures all students have well-balanced,
high-quality music instruction, music study remains an integral part of the school curriculum,
and plays a key role in the development of the Core Arts Standards.
Theory of Mind: The ability to recognize the feelings and thoughts of other people (Wilkinson,
2017).
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The researcher logged into the Bethel University Library website and performed an
advance search on CLICsearch, JSTOR, and EBSCO MegaFILE search engines. The following
keywords were used: ‘music education benefits’, ‘music benefits’, ‘students with disabilities’,
‘students with special needs’, and ‘autism spectrum disorder’. Google Scholar was also used by
the researcher to search the following keywords: ‘music education benefits’, ‘music benefits’,
‘students with disabilities’, ‘students with special needs’, and/or ‘autism spectrum disorder’.
Darrow (2012) stated that learning differences is a more appropriate term for learning
disabilities. One of her students explained to her that she preferred the term, learning
differences, over the term learning disabilities because she could learn anything her classmates
were learning but in a different way. Ever since this student told her this, Darrow has used the
Students with learning differences may even excel in music classes since teaching music
utilizes auditory, visual, and kinesthetic strategies. Some of the benefits of music education for
students with learning differences include: ability to succeed in a safe haven; compensatory skill
friendships; academic learning embedded in music, songs, and chants; learning musical cues and
prompts; music activities used as reinforcement for completing work; and music activities used
Darrow (2012) continued to discuss in her article that having students with learning
differences in classrooms can be beneficial to the teacher too by making teachers more creative
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and successful. Some of the adaptive strategies Ms. Darrow learned from her students with
learning differences include the following: creating multiple ways to approach a task; breaking
tasks into the smallest parts; appreciating successive approximations to the task; being more
patient and encouraging; finding multiple ways to vary and practice a task; using cues and
prompts more effectively; using more visuals and nonverbal forms of communication; and
asking students how teachers can best help them (Darrow, 2012).
Making music can be a positive experience because it can be enjoyable, motivating, and
flexible. Music also provides opportunities for students to benefit and improve their life skills in
social, emotional, and music development. Music engagement contributes to the well-being of
others. All of these music engagement elements contribute to the development of emotional
intelligence. Students with learning disabilities placed in inclusive classrooms, including music
education, were found to have more satisfying relationships, more positive social and emotional
skills, had less behavioral problems, and were less lonely than students in self-contained special
Social skills, self-esteem, and assertiveness characteristics for students with disabilities
can be developed through the music curriculum. Some music interventions have been effective
in influencing self-esteem, including analyzing song lyrics, which can assist students in
identifying and expressing their feelings of self-worth and their environment. Songwriting
activities allow students to express and share their feelings. Writing songs can promote feelings
of pride, establishing productivity, and increasing positive socialization with other students.
Learning to play an instrument can establish feelings of pride and develop an enjoyable skill of
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leisure. Additionally, students with profound disabilities can learn to play instruments by using
Assertiveness is an important social skill for any student with or without disabilities to
develop. Being assertive allows students the ability to express themselves but also respecting the
opinions of other students. Music educators can teach students with disabilities to be assertive
by allowing them to pick the desired instrument that they want to play, deciding on the musical
piece that they want to play and/or perform, and deciding on an ensemble to play in. Music
educators can allow students with disabilities to express their opinions about the styles of music,
types of instruments, and a variety of songs to be included in music classes. There are a variety
of music activities that students with disabilities can be involved in including the physical layout
of the classroom and designing covers for music programs and posters for special musical events
(Darrow, 2014).
Music educators can encourage, monitor, and teach socialization skills to students with
disabilities in rehearsals, performances, and musical field trips. Music teachers can use students
with or without disabilities in peer partner activities and use students with disabilities in roles as
allowing students with and without disabilities to sit in different spots during rehearsals/classes
and having discussions about various musical topics to promote opportunities for shared
experiences. Allowing all students to rehearse and perform together will promote successful
socialization skills and performances. By designing successful musical goals and experiences,
music educators can assist and teach students with disabilities in becoming emotionally healthy,
sociable, and having smooth and successful transitions to adulthood (Darrow, 2014).
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Since the Education for All Handicapped Children Act (PL94-142) and the Individuals
with Disabilities Act (PL94-119) laws, inclusion in education has become the standard.
‘Inclusion’ can have many different meanings to a variety of people. There are many definitions
of inclusion. One of the definitions of inclusion states that students with disabilities are placed in
regular classrooms with appropriate support personnel to receive instruction and related services
alongside peers. For inclusion to work, there must be administrative support and schoolwide
cooperation ensuring learning success for all students as well as meeting individual needs.
Unfortunately, music educators are often expected to teach all students with disabilities without
the assistance of various special education specialists and paraprofessionals. Music classes are
unique compared to general education classrooms in that they demand lots of group cooperation
and interaction, the acquisition of many academic skills, and performing complex psychomotor
Music educators could feel overwhelmed and ill-prepared to teach students with
disabilities even when teacher preparation programs are increasing the emphasis on teaching
strategies and management techniques for students with special needs. Music teachers could also
be left out of the referral process and instructional planning phase for students with special
needs. Music education students feel significantly more positive about their preparedness to
teach students with disabilities following the interaction and real-life involvement of students
for each student. There are a variety of informational sources that address the broad spectrum of
disabilities and possible accommodations for each disability. Music educators will need to piece
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together this information and fill in the gaps. This is an extremely large task for one individual.
School personnel, including counselors, school psychologists, special education staff, and
paraprofessionals, must come together and collaborate. Music educators must learn to be
creative and resourceful. The training necessary to teach students with special needs begins in
inclusive music classrooms by spending time observing special learners in regular learning
environments. Music educators must not only learn about the various disabilities but the unique
individual as well. Specialists, administrators, classroom teachers, and parents must come
together to help children with special needs in the music classroom among typical peers
(Nordlund, 2006).
positive attitude and expect high standards for all students. They should practice a “can do”
philosophy and create an atmosphere in which students with special needs are not any different
from typical students. Music educators may need to take the initiative to communicate with
administrators and special education teams to express their desire to be involved in IEP
meetings. Being involved in the IEP process may alleviate false expectations and
Music educators should communicate with parents so they can learn how to best reach
students with special needs. The music classroom needs to be highly structured and organized
for the integration of students with special needs. Instructional planning may include
“augmented teaching techniques”, which consists of smaller steps, better structure, more visual
and aural cues, and consistent reinforcements. Music educators may use Augmented Alternative
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Communication (AAC) tools for nonverbal and nonvocal students, which includes computer
technology, sign language, gestures, facial expressions, and symbols (Nordlund, 2006).
Abramo (2012) discussed some of the key-right passages of federal laws of individuals
with disabilities. Emerging civil rights movements of the 1960s provided equal treatment for all
individuals regardless of race. In the 1970s, the disability-rights laws for individuals with
disabilities were included. The Rehabilitation Act passed by Congress in 1973 forbade
discrimination based on a disability if the entity received federal funds. The requirements of the
Americans with Disabilities Act (AMA) of 1990 and its amendment in 2008 included equal
opportunities and access to government programs, transportation, public spaces, and employment
(Abramo, 2012).
Additional education laws were passed including the Education of All Handicapped
Children Act (EHA) of 1975 and the Individuals with Disabilities Education Act (IDEA) of
1990. The requirements of the EHA included schools to provide a free, appropriate public
education and to allow the maximum possible opportunities to interact with students without
disabilities. Also, EHA stipulated that when the nature or the severity of the disability is such
that instructional goals cannot be achieved in the regular classroom, only then separate schooling
may occur. In 1976, these services were extended to students with physical disabilities entering
college through an amendment to the Higher Education Act of 1972. EHA was reauthorized by
Congress and renamed IDEA in 1990, which expanded the definition of disability by EHA to
include more students who would qualify under the law. The Individualized Educational
Program (IEP), established under EHA and IDEA laws, required schools to create a legal
document that planned a course of action to meet students’ unique educational needs for every
A larger movement of “inclusion” has emerged with the passing of these laws, which
have had positive effects on the actions of schools, teachers, students, and society and give
individuals with disabilities greater rights and integration into society. Teachers now have a
wider range of learners and more responsibility for instructing a diverse population. For
example, music teachers must devise alternative ways of instructing, alter rehearsal schedules
and lesson plans, and modify instruments. With the increased diversity of learners, there is a
richer experience for all students and positive effects on their social and cognitive development
There are musical instruments not available for students with disabilities to learn and play
because of the design of the instrument. The individual with a disability may enjoy music, be
very musical, and want to play an instrument like the violin, piano, or saxophone. Fortunately,
there are ways to minimize the “disabling” effects of the instrument and allow the student to
learn and play these instruments. Some examples of instruments include “one-handed
toggle-key systems” for woodwinds for students with the use of one hand; and recorders, violins,
percussion instruments, and brass instruments made for one hand. Musical pieces can be
rewritten for these adaptable instruments and technique modifications can be developed by the
music teacher. By creating these adaptations and modifications, students with disabilities can
Music teachers can modify their instruction to accommodate students with visual
impairments. The basic functions of music notation can be learned by using music braille.
Teachers can sign up for a free braille notation course and use free software to translate notation
with musical recordings of the student’s parts as well as the entire ensemble to take home to
learn and listen to. Students will be able to understand how his or her part fits into the whole.
Also, the music teacher should talk through the recordings to let the student know, for instance,
the proper key and meter of the piece and/or the accents and dynamics (Abramo, 2012).
Students with learning disabilities and emotional disorders can also benefit from
accommodations in the music classroom. Music teachers can provide accommodations and
positively; and using consistent classroom management. Also, asking students to complete a
task is a more positive approach than simply telling them not to do something. For students with
learning disabilities, music teachers should use a variety of learning strategies, such as
kinesthetic, visual, aural, and tactile, when introducing new material. Finally, music teachers
should slow instruction down, enlarge music and other materials, and use different colors to help
Students with visual impairments can share musical experiences with other students and
Playing an instrument in band class is a major educational goal for some students with visual
with visual impairments must overcome the challenges of visual presentations of music
instruction with the help of the band director by providing necessary accommodations. One
possible Individual Education Plan (IEP) requirement is providing students with visual
impairments materials and music in braille and their music instrument parts separately. The
band director may need to use the services of a specially trained transcriber of braille music
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and/or purchase braille music-transcribing software, which would produce braille music in the
imitation and repetition. The learner can listen to the musical sound sample and repeat the
sample on their instrument. Some additional accommodations include dividing large passages
into subsections, providing appropriate sound recordings, and extending time on tasks. Students
with partial visual impairments may need to move closer to the music, use magnifiers, and/or use
“Sight-reading” is when the performer is reading and playing the musical piece for the
first time either for themselves or for someone else. Accommodations that students with visual
impairments may require and to play their instruments include the following but not limited to:
enlarged music to a large-print format; memorizing music for rehearsals and performances; and
requesting a peer or aide to read or perform the musical passage before the student practices and
The duties of the band conductor include making appropriate communication by using
visual cues and signals; determining necessary preparations and possible alterations to
conducting and rehearsal techniques; use of verbal cues and signals to communicate starts, stops,
countdowns, cutoffs, and restarts; and seating arrangement close to the conductor (Coates, 2012).
For students with visual impairments, marching band creates some nonmusical
challenges for this major activity for all band students, which include awareness of surroundings,
extended learning time, dividing instruction into smaller segments, and sight-guided assistance
by a peer or family member. The band student with visual impairments can perform musical
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tasks as well as students with no visual impairments. The band teacher must support and
advocate for students with visual impairments and provide appropriate accommodations so the
student can succeed. When band students with visual impairments succeed, they demonstrate
Music teachers need to communicate and collaborate with parents of students with
special needs to achieve success. It should be a positive experience between parents and
teachers. There is an increase in the number of students with special needs in music classrooms
and ensembles. Before they meet with the parents, music teachers need to learn all they can
about their students with special needs and communicate with the student’s special educator
about his/her IEP needs, goals, and adaptations/modifications. The special educator can fill in
the gaps about possible adaptations with the music, instrument, or physical space in the
classroom. For many students with disabilities, parental involvement is the key to success in
music classes. Communication with parents is crucial when teaching students with disabilities
(Fitzgerald, 2006).
Music teachers need to show parents of students with disabilities that they are supportive
and care about their children. Music teachers can also be involved in the IEP development
meeting by bringing examples of the student’s work, behavior, or social interactions with other
students. Inform parents what will be expected of their child in music class and offer creative
solutions to any difficulties their child may be experiencing. Music teachers should display a
positive attitude and share positive experiences with the parents. The bottom line is that all
students, including students with disabilities, should receive what he/she needs to be successful
in the classroom and to receive the best music education (Fitzgerald, 2006).
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The following is a case study that supports the importance of music inclusion. An Illinois
high school band director and special education teacher collaborated in teaching concert band to
eight students with severe and profound developmental disabilities, five students with mild
learning disabilities, and sixteen students without disabilities. All members of the concert band
shows, and parades. The students with severe disabilities played a variety of percussion
instruments and students with mild disabilities played various wind instruments. During
rehearsals, the band teacher directed each band class and the special education teacher assisted
According to Lapka (2006), the five factors that will promote successful inclusion for
students with special needs in the general education classroom include teacher attitude,
Teacher, Ms. Lapka, believes that the benefits of inclusion are receiving music education,
boosting self-esteem, and socialization. She believes that communication, expertise sharing, and
The band teacher chose modifications of appropriate percussion instruments that matched
the abilities of the students with special needs. He also chose appropriate music that matched the
abilities of the students with special needs and altered the percussion music. Rhythm and timing
were among the strengths of the students with disabilities. Accommodations included having
both teachers in band to assist the students, teacher modeling by playing the instruments, and
using more visual cues during practices and performances. Also, there was a peer tutor who
mentored and supported students with special needs in social interactions and provided visual
Ms. Lapka observed parents becoming overjoyed and amazed that their children played
an instrument in concert band class and were involved in ‘normal’ activities in a general
education group of students. Parents reported that their children were interacting with higher
levels of education and felt just as important as students without disabilities. Parents also
reported that their children looked forward to concert band rehearsals, performances, being part
The National Association for Music Education (NAfME) ensures that all students have
well-balanced, high-quality music instruction and that music study remains an integral part of the
school curriculum. The mission of NAfME is “to advance music education by promoting the
understanding and making of music by all.” Many students with physical disabilities are often
Some of the challenges that band directors may have when including students with
special needs in band include the following: awareness and availability of adaptive band
instruments for individuals with disabilities were the highest endorsed factors; the cost of
adaptive instruments; time commitment to teach and learn adaptive instruments; and teaching
qualifications. Multiple instruments have been adapted for students with disabilities including
percussion and brass instruments. The most common adaptive instruments are woodwind
Some of the benefits for students with physical disabilities who participate in band
include the following: improved hand-eye coordination; endurance for practicing challenging
and long-term goals; higher concentration during complex motor and cognitive learning tasks;
higher self-confidence; and ability to tolerate and overcome frustrations. According to the
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article, the band directors strongly agreed that both students with or without disabilities benefited
from studying instrumental music. Also, they believed that the attitudes of students without
disabilities improved towards students with disabilities when both groups interacted and
Band teachers can implement multiple strategies to assist and integrate students with
disabilities in playing an instrument. Some strategies include assisting with visual processing
deficits by using color-coding music notation and using assessments that would evaluate the
Two heartfelt and uplifting examples of how students with special needs benefit from
music is well-reflected by DeHoff (2010). Emily Ingram, from James Bowie High School in
Texas, plays the flute in marching band and oboe in the regular band. At the young age of 2
weeks old, Emily was diagnosed with cystic fibrosis, which is one of the most common types of
chronic lung diseases in children and young adults. Emily wanted to experience not only
participating in concert band but marching band too. Not only have her parents been supportive
of her in being successful, but her band directors have been supportive of her by accommodating
her in band rehearsals. Emily’s band director says she taught him about determination,
consistency, and perseverance. Emily enjoys performing and how participating in band
rehearsals makes her feel normal. She said that performing at the Bands of America Grand
syndrome at Avon High School in Indiana. At the beginning of sixth grade, the band director
suggested to Cam to try percussion in the band. His parents noted that when he played for them,
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he just glowed. In high school, he signed up for band rehearsals and went to band camp. His
mother says that since participating in the band, Cam’s grades have improved, he is more
talkative, he has made friends, he is happy and laughs a lot, and he is confident. Cam is proud to
participate in band rehearsals. He is more responsible and enjoys making his parents proud. He
participates in the Avon Marching Black and Gold, the performances, and competitions. These
two proud students with special needs have proved that in today’s world, music is really for all
(Dehoff, 2010).
Music education may benefit a variety of students with special needs, including students
who are deaf and hard of hearing. Most music teachers believe that all students have the ability
to be creative and have the potential to express themselves musically. Students with hearing
impairments understand and respond to music differently. Music teachers may begin with
teaching strategies that focus on self-esteem, self-expression, and understanding music. Music
classes may allow students with hearing needs to express themselves and increase their auditory
Students with hard-of-hearing impairments have mild or moderate hearing loss. Many of
these students have success with learning to play an instrument, reproducing rhythms, steady
beats, and the ability to sing on pitch. Students with moderate and/or severe hearing loss may
benefit from developing a complete understanding of music. Students who are deaf and/or
hard-of-hearing will often benefit from a kinesthetic, visual, and tactile approach to learning
music. Rhythmic movement activities, including clapping, stepping, and dancing, will prepare
students for rhythm notation. Students who are deaf and/or hard-of-hearing enjoy the challenge
experience because lower-frequency pitches are more accessible to students with hearing
26
impairments. They may be able to feel the vibrations and recognize variations in volume, pitch,
One teaching strategy that music teachers can use for students who are deaf or
hard-of-hearing is using visual aids, which can help students understand the words of a song and
musical concepts. Whenever possible, teachers should explain abstract ideas, concepts, and
idiomatic expressions. Since communication is the most important factor when assisting
students with hard-of-hearing, they should sit in front of the room. Make sure students with
hard-of-hearing can see your mouth when you speak to them so that they can lip-read. If the
student has a sign-language interpreter, he/she should come to music class. Whenever possible,
Many music teachers are overwhelmed by the challenges of teaching students with
emotional disturbances and could benefit highly from professional development and preservice
training addressing this disability. Students with emotional disturbances can find success in the
music classroom by teachers giving greater attention to consistency, proper lesson planning,
structure, room setup, and the identification of emotional triggers. Teachers need heightened
awareness, increased preparation, and greater consistency when teaching students with emotional
Students with emotional disturbances will benefit the best from highly structured
environments, clear and consistent routines, many opportunities to respond to questions and
directives, and time to practice learned material via independent seatwork. To prevent a power
struggle, the teacher should recognize students’ triggers and be supportive at the first signs of
anxiety. Teachers should avoid negative ultimatums, which can be the spark that ignites the
flame. Positive reinforcement has been shown to be very effective in supporting students.
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Acknowledging student contributions and offering frequent praise are important factors when
disturbances should know the routines before classes start. Chairs should all be lined up facing
the teacher/director so that the teacher can be the focal point of the class and students can
concentrate on the subject/teacher. The teacher’s goal is to use the simplest directions as
possible as students become aware of the teacher’s expectations. Teachers should use auditory
and visual stimuli at the beginning of the lesson to catch the attention of students and write the
agenda on the board. Provide lots of movement activities during the class period to alleviate
stress and energy. All students have every right to participate in concerts, music programs, and
musicals. Place students in the appropriate ensembles that will let them shine and be the most
successful. Ensembles should match each student’s skill level (Price, 2012).
The American Psychiatric Association (APA) defines autism spectrum disorder (ASD) as
“a complex developmental disorder that can cause problems with thinking, feeling, language,
and the ability to relate to others. It involves persistent challenges in social interaction, speech
and nonverbal communication, and restricted/repetitive behaviors. The effects of ASD and the
severity of symptoms are different in each person” (APA, 2013, p. 1). The first signs of ASD are
usually seen around age 2 to 3 years old. Some children will show signs not until their toddler
years. ASD is more common in boys than in girls (three to four times) and girls may exhibit
fewer signs than boys. The two characteristic categories of ASD are the following: social
interaction and communication problems; and restricted and repetitive patterns of behaviors,
The Centers for Disease Control and Prevention (CDC) indicated that ASD has been
identified in 1 out of 54 children and occurs in all ethnic, socioeconomic, and racial groups.
Diagnosing ASD can be difficult because there is no medical test. To make a diagnosis, doctors
look at the behavior and developmental history of the child. A diagnosis of ASD by the age of 2
by a professional can be highly reliable. Unfortunately, some individuals are not diagnosed until
they are adolescents or adults and this can be detrimental to the development and health of the
child. Early detection of ASD is paramount to the health of the child. Some of the early signs of
ASD include the following: a limited display of language; having little interest in other children
or caretakers; avoiding eye contact; and getting upset by minor changes in routine. Some
adolescent and adult signs of ASD include: difficulties in communicating with peers and adults;
Diagnosing children as early as possible is paramount for them to receive the services and
Children with autism spectrum disorder (ASD) have demonstrated musical abilities in
pitch discrimination, memory for musical stimuli, superior absolute pitch, and short and
long-term pitch memory. Music benefits for students with ASD include decreased feelings of
depression, positive mood change, feeling connected to others in a social environment, and
feeling therapeutically healed. Students with ASD who use music programs may benefit by
positive mood, increasing eye contact, and decreasing levels of anxiety and stress (Hillier,
IPads are becoming a popular learning tool in classrooms. Music teachers are able to
teach a variety of skill levels and learning styles in classrooms by using iPads. Some of the
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benefits of using iPads in classrooms, including students with special needs, are motivated to use
technology, remaining focused for longer periods of time, and time efficiency. Other benefits of
Hillier Study
Hillier et al. (2016) conducted a research project with 23 students with high-functioning
ASD who were between the ages of 13 and 29. The researchers used a ‘SoundScape’ music
program for 90-minute/week class sessions for nine weeks. Most participants did not have any
formal musical training or play a musical instrument. The ‘SoundScape’ music program mainly
involved using iPads to create musical compositions. Most music classes involved group work
to promote social interactions. Participants were given a questionnaire at the end of the program
asking questions about stress, anxiety, enjoyment, and social life. Results indicated that 56% of
participants had lower levels of anxiety, 63% had lower levels of stress, and ten participants
found the program interesting and enjoyable. Most participants benefited socially from the
program and made friends. Parents reported that their children benefited socially with the iPads
by collaborating and sharing with others. Music benefits reported by parents included using
music to help regulate mood, reduce anxiety, and to destress. The study’s findings support the
notion that students with ASD benefit from music by improving their focus, reducing their
anxiety, and increasing their learning by improving social understanding and ‘theory of mind’
Additional Research
Hillier, A., Greher, G., Poto, N., & Dougherty, M. (2012) conducted a research study
consisting of 22 adolescents and young adults with ASD who were between the ages of 13 and
30
29 years old and were diagnosed with high functioning autism. They participated in eight
weekly music sessions for 90 minutes each and the study was conducted by music education and
psychology university students. Professors from each department oversaw the study. The music
techniques used in musical pieces, composing, improvising, and exploring various musical
instrument sounds. The main project consisted of students creating a short film with music
accompaniment, hence a ‘movie soundtrack’. The music program “GarageBand” was used by
participants in small groups to promote social opportunities and interactions. The interests of
technology, computers, and music production software were incorporated into the project to
encourage participation in technology with music. Participants were encouraged to use musical
Student results following the program indicated that self-esteem scores were significantly
higher, attitudes toward peers were significantly more positive, and trait anxiety was rated as
significantly lower. Findings indicated that engaging in music showed higher self-esteem, lower
self-reported anxiety, and improved attitudes toward peers. Scores were measured by participant
and parent/guardian questionnaires. Participants rated the social benefits and how enjoyable and
interesting the program was as high. The benefits of engaging with music in a variety of ways,
including playing instruments, using software to compose music, and creating a film musical
soundtrack, seems to be beneficial for individuals with ASD. Music listening has been shown to
reduce anxiety and stress hormone levels. Using computer programs for music production and
make the experience less overwhelming and a more controllable activity for individuals with
Cecilia Roudabush, a general and adaptive music teacher in Iowa, has worked with
children with autism for seven years. She has discovered a new way to communicate with
children with autism by using the Mayer-Johnson Picture Communication Symbols given to her
by a speech pathologist. The symbols consist of black and white line drawings with written
words. The students respond well to the symbols because they are familiar to them. The
symbols are used to communicate the understanding of classroom material, for expected
behaviors, current days of the week, identifying feelings, and various musical concepts such as
tempo and dynamics. Roudabush also finds it necessary to teach multiple learning experiences
over an extended amount of time and to break tasks down into minute steps. Roudabush believes
that these musical experiences will teach students with special needs a variety of ways to
participate in music and valuable leisure and social skills (de l’Etoile, 1996).
Kirsten Nelson, a Registered Music Therapist in Iowa, assisted a student with severe
cerebral palsy to play music in her band. Students with cerebral palsy have damage to the area
of the brain that controls posture and movement. Nelson transcribed the band flute parts to an
electronic music instrument, Omnichord, which has been highly successful for individuals with
physical disabilities. The student with cerebral palsy was able to participate in band rehearsals
with her peers and with the help of an aide. Nelson stresses that the enjoyment of these musical
experiences for students with disabilities leads to improved creativity and increased self-esteem
Deborah, a 15-year-old student, has been participating in children’s choirs for students
with special needs for the past three years. Unfortunately, there have been times when Deborah
has been excluded from participating in both public and private choirs. For example, she was not
allowed to participate in choir when entering her first year of high school. She has a physical
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disability that requires her to use a walker and a wheelchair for mobility. The physical barrier
for choir participation was wheelchair inaccessibility and the psychological barriers were teacher
One of the benefits of choir participation for Deborah was the relationships being
developed between choir members and the director. Another benefit was that the choir director
saw Deborah as a musician and singer, not as a girl with physical limitations. Her parents
showed continuous support and were nurturers and advocates of Deborah’s choir inclusiveness.
Deborah stated that music has made her a person and given her an identity (Haywood, 2006).
Gerrity, Hourigan, & Horton (2013) conducted a mixed-methods study among students
with special needs at a large, Midwestern university for 10 consecutive weeks. The research
study was conducted to identify and define conditions that facilitate music learning and to
measure the musical ability and growth of the students who were diagnosed with cognitive delay,
autism, cerebral palsy, or Down syndrome. There were pre and post-experience assessments
conducted on all sixteen students who were from the ages of 7 to 14 years old. They were
divided into three groups and participated in music, theatre, and dance each for 30 minutes per
week. The music instruction was led by a licensed music therapist and educator who taught the
following musical concepts: keeping a steady beat, identifying high/low pitches, recognizing
long and short durations, tonal memory, improvisation, and voice and instrument performance.
Each assessment was recorded and conducted by a researcher and a music teacher. Evaluations
of the assessments were performed by a music teacher. Students, parents, and mentors
Horton, 2013).
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The quantitative results indicate that the musical ability of the students with special needs
was poor at the start of the experimental period. By the end of the experimental period, scores
indicated significant increases in skills related to rhythm/duration, pitch, and tonal memory. The
pretest score for students was 43 and the posttest score was 49.7 points out of 100 (Gerrity,
The qualitative results indicate that students learned new skills consisting of playing
instruments, dancing, and singing. The students along with the parents were proud of learning
these new skills. Parents were amazed that their children were learning musical skills. Student
mentors reported that specific strategies including repetition, student choice, and increased
response time led to increased student music learning and engagement. Students were allowed to
choose the instruments that they wanted to learn and play and at their own pace. Students were
allowed to take as long as they needed when responding to a new skill. This allowed them to
demonstrate their understanding of the skill or concept. Repeating skills over and over allowed
the students with special needs to understand the skill by practicing and observing others
behavior plan, providing clear expectations and directions, and providing a positive learning
environment. Most students preferred and were more successful in receiving clear directions in
as few words as possible and in small chunks or phrases. The behavior plan included rewarding
students for remaining engaged in the activity and not wandering off. An important factor that
ensured the success of students was providing a positive atmosphere, which was free from
distractions. Each student was provided with a mentor to assist them in any way possible and to
In her article, Scholtens (2019) reported that music provides students with ASD
opportunities to engage with students without special needs during music class. Evelyn Buday, a
cognitive development specialist, stated that students with ASD were more responsive to
instruction when teachers implemented music into the curriculum. Rolando Benenzon, music
therapy pioneer, stated that students with ASD may prefer to use music and not words as a bridge
Joint attention (JA) is “the process of engaging another person’s attention to share in the
marks the level of social development. In an ASD diagnosis, a delay in the social development
of JA is a common denominator. Music therapy researchers, Jinah Kim, Tony Wigram, and
Christian Gold stated that music works as an effective attention-getter, especially for JA in
can be used for communication opportunities for children with ASD. Call-and-response and
fill-in-the-blank response songs are highly predictable, naturally affirming, and generally
peaceful. Exclamatory phrase songs give children opportunities to respond with facial
expressions that match their vocal inflections. These interactive songs give children with ASD
the opportunity to individually respond to, receive recognition from their peers and teachers, and
be accountable for participation, especially when teachers use individual student names in the
songs. When teachers use student names in familiar songs, children with ASD look forward to
participation, being the subject of these songs, and having their moment in the spotlight. Songs
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that incorporate communication with teachers give students opportunities to use eye contact,
Music teachers must learn to use differentiation strategies in their classrooms. Learning
should be structured to fit the students rather than students adapt to fit the curriculum.
plan for student differences.” Students grow and succeed when they are given appropriate
challenges to meet their individual needs. Differentiation does not require a dozen lesson plans
or individualized instruction. No two students will learn exactly in the same manner (Standerfer,
2011).
Differentiation
Music teachers must differentiate musical experiences so that the struggling learner and
the advanced learner will be able to experience appropriate levels of challenges and master
essential information, ideas, and skills. Students are at different levels of readiness and they vary
in how they process new information, skills, and interests. Teachers must differentiate
instruction and implement appropriate accommodations for the curriculum to be engaging for all
learners. The content to be taught, the learning process in which students are to engage, and the
final product to demonstrate what they have mastered are the three elements of instruction that
can be differentiated. The benefit of differentiation in teaching and learning that advocates the
design and delivery of instruction based on student needs became a central factor for designing
instruction. Modifications for students should be made by the music teacher. Music teachers
can effectively differentiate instruction to better meet student needs with appropriate creative
Far fewer research studies exist of minority students, students with disabilities, and
There are very few systematic reviews of music research in inclusive school settings involving
populations of children with disabilities and their typically developing peers. An important
federal mandate is that children with disabilities, when appropriate, are to be educated with
children without disabilities in regular classrooms and have access to the regular curriculum.
Many music teachers are required to teach children with disabilities in their inclusive music
Since 1978, there have been 22 inclusion studies with less than half in music classrooms
(all K-6) and none at the secondary level. There is a growing concern for the small number of
affect reading/literacy outcomes for children with and without disabilities. 61% of the
respondents of a review of the perceptions of music educators reported that students with special
needs were integrated into music effectively (Jellison & Draper, 2015).
After the Education for All Handicapped Children Act of 1975, music classrooms were
among the first to include students with special needs. Many music teachers lacked training,
support, and preparation to teach students with special needs. According to Salvador (2013),
several strategies are recommended for the elementary music teacher for the successful inclusion
of students with disabilities. The first strategy is effective communication between teachers and
staff. The music teacher should communicate with the specialist teachers and learn about the
strengths and needs of the students with special needs who will be in their class. The second
strategy is the placement of students with disabilities in the appropriate music class. According
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to IDEA, every child is guaranteed a free and appropriate public education in the least restrictive
environment. Every student with disabilities has the right to participate in choir with reasonable
accommodations if choir is the best choice for the child. The last two strategies are making
appropriate accommodations to music curriculum and assessments and being flexible, positive,
Choral classrooms can be improved for some students with special needs by providing
peer tutors, group work, and/or aural, hands-on instructional methods. Recommendations for
music teachers include the acknowledgment of student IEP’s and planning and participation in
IEP meetings. Also, music teachers need to keep communication open between administrators,
paraprofessionals, other teachers, staff, parents, and choir members (Salvador, 2013).
Gardner (2010) reported that music teachers received less support with teaching students
with special needs and were more likely to hold itinerant or part-time positions than other
teachers in K-12 public and private schools. Music teachers were the least satisfied in their
positions because of workplace conditions and the amount of support of administrators. They
left their music teacher positions for better salaries, work conditions, and administrative support.
The results of this study indicate that music teachers taught on average 4.3% of students with
special needs who had Individualized Education Plans (IEPs). 23.7% of these music teachers
reported that they received no support and 15.2% received the highest level of support. Music
teachers were the least satisfied than other teachers with the amount of support received for
Music teachers are routinely expected to teach students with special needs including
students with moderate to severe disabilities. Some music educators do not feel well-prepared to
teach students with special needs with adaptations and modifications. Colleges and universities
38
vary in the amount of education music teachers are required to have to teach students with
special needs. Often, college general education programs will include classes on educating
students with special needs. All teachers, including music educators, should have access to
student IEPs so they can implement behavior plans and teaching strategies. However, many
teachers do not have access to or do not know how to access IEPs. Music teachers are legally
and ethically obligated to implement student IEPs (Salvador & Pasiali, 2017).
Music teachers often feel isolated and/or unprepared in teaching students with
exceptionalities. Music educators who need additional assistance in teaching students with
special needs are recommended to contact a music therapist if needed. Perhaps, having a music
therapist within the school district to consult with would help alleviate some of the stress and
feelings of isolation when teaching students with special needs. Districts need to provide access
to student IEPs in a timely manner to all teachers so they can implement student behavior plans
and learning strategies. All teachers should have professional development in how to access,
read, and implement IEP information so that they can fulfill their legal and ethical responsibility
Music educator programs should start offering courses in music inclusive instruction and
exceptionalities. Music teachers are often encouraged to collaborate and consult with other
school professionals, including music therapists, to learn about teaching strategies for children
with disabilities. The lack of funding available for students with special needs is a growing
problem. There is an increase in the number of students per classroom, less time available for
39
teachers to collaborate and advocate, and less one-on-one time for students with disabilities
Many music educators believe that there is a critical need for collaboration between
music and special educators. McCord & Watts (2010) found in their research that the majority
of music educators are not involved in IEP development and process but are expected to use
adaptations for students with special needs in music classes. One participant of the research
study stated that they would be a better teacher if they knew of students’ strengths and learning
strategies, which are written in their IEPs. Only 9% of the music educators indicated that they
were knowledgeable and skillful in student IEP development and process (McCord & Watts,
2010).
McCord & Watts (2010) found that some music educators feel that they lack the
necessary skills to create adaptations for students with special needs and lack the knowledge
about the use of assistive technology (AT) to educate students with special needs. 91% of the
respondents in the study indicated that they were not competent in using adaptations for
instruction for students with special needs. Many music instructors reported teaching a wide
range of students with disabilities but were unaware of the types of AT used for these students.
The utilization of AT may significantly increase success in music classes and ensembles for
these students. However, music educators knew more about communication and
seating/positioning aids for students with special needs. One possible reason for this was that
they saw these types of devices being used in their classrooms. More than half of music
educators reported that they have little knowledge in computer aids, musical instrument aids,
McCord and Watts (2006) recommended that music educators and special education
teachers find the time to meet and collaborate during the school day. However, this is often hard
to do during the day because both teachers have lots of responsibilities. Music educators are
usually conducting lessons or rehearsals during lunch, before and after school, and during prep
time. So, they often do not have time to meet with special education teachers or attend IEP
meetings. Special education teachers often have limited free-time available during the day also
IEP meetings should be respectful to all educators by setting time limits and following an
agenda to discuss the items. IEP team members should share important information on students
with disabilities at any time through Email, chat rooms, and online discussion groups. All IEP
content is confidential. Initials or pseudonyms of students with disabilities should be used when
tremendously in the music classroom. They function as a source of information between the
music faculty and special education teachers. Paraprofessionals support and advocate for
According to their research, McCord & Watts (2006) found that informal peer training
was how almost half of music educators received their training and staff development.
Conferences and single-day workshops came in second and third place. About one-fourth of
music educators had not received any training at all in the last 5 years.
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Hammel & Gerrity (2012) found that music teachers who participated in professional
development opportunities were empowered to better address students with or without special
needs. Music teachers’ perceptions of competence to teach students with special needs in the
professional development courses, music teachers gained skills and knowledge which led to
elevated perceptions of competence. Also, music teachers found themselves more aware of
students’ special needs and difficulties. They became more knowledgeable about students’
rights and teachers’ obligations. Finally, music teachers became more competent in the use of
more effective classroom management techniques and modifying the physical environment for
students with special needs after professional development opportunities (Hammel & Gerrity,
2012).
Salvador Study
Salvador (2010) conducted a research project consisting of emailing 212 surveys to music
educators. The survey’s purpose was to see how undergraduate music education programs
addressed differentiation instruction for students with special needs. Only the schools that
offered doctorate and master’s degrees in music education were contacted for this survey. The
survey asked specific questions regarding whether their program required or offered a course, or
addressed the topic of differentiation instruction to students with special needs. 212 accredited
institutions were contacted and only 109 responded. The respondents reported the following
information: classes in teaching music to students with special needs were offered 38.9% of the
time; these types of courses were required only 29.6% of the time; and integrating teaching to
students with special needs throughout their coursework was implemented 59.8% of the time.
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Institutes that offered doctoral degrees in music education were more often than master’s degree
institutions to offer and require students to complete these types of classes (Salvador, 2010).
Institutions may lack instruction in special education for music education undergraduates
because faculty may lack expertise in the subject. Faculty may not feel comfortable in training
students in special education laws or teaching adaptations for students with special needs in
music education classes. The majority of respondents reported that coursework in teaching
music to students with special needs was offered in the college of education under general
education coursework. These courses were not offered in the music department but incorporated
Hourigan & Hourigan (2009) discussed music education methods to better facilitate
learning in students with autism. The National Centers for Disease Control reports that one out
of 150 children in the United States is diagnosed with autism. Music educators are teaching
more students with autism due to this increase in children diagnosed with autism, which is
increasing by 10 to 17 percent per year. Music teachers are often required or are being asked to
teach music to self-contained classrooms of students with autism without support or training and
teaching students with autism can often be challenging. Music educators often become confused
and are faced with many uncertainties (Hourigan & Hourigan, 2009).
disability that typically appears during the first three years of life and is the result of a
neurological disorder that affects the normal functioning of the brain” (p. 41). The symptoms of
autism may appear as early as 18 months old and typically may include social difficulties,
communication delays, repeating words or phrases, oversensitivity (sound, light, etc.), lack of
43
direct eye contact, odd or unusual repetitive play, unresponsiveness to verbal cues, resistance to
change, and self-stimulation. Children with autism may have all or some of these symptoms
Children with autism tend to be introverted and live in an isolated world. Lev S.
Vygotsky proposed in the early part of the twentieth century the concept of the “comfort zone”,
which is part of a larger learning theory called the zone of proximal development. Children with
autism have a tendency to escape to their “comfort zones” because of the struggle of everyday
life. Educators and parents need to encourage children with autism to engage and learn with
their peers including the music classroom and to avoid their “comfort zones” (Hourigan &
Hourigan, 2009).
Music educators have encountered children with autism who have a talent for music.
Frequently, children with autism have a remarkable capability and responsiveness to music as
compared to other behavior areas and typical children. Children with autism who cannot
communicate verbally have acquired skills in music that go beyond their typical peers (Hourigan
One of the challenges of students with autism is the communication barrier. Often they
may understand more than they can verbally express. One of the strategies to help children with
autism to communicate is to use the picture system, called PECS (Picture Exchange
Visual aids called music icons can be used in the music classroom. Schools can purchase PECS
software for teachers to use with their students with autism. The PECS system is an easy way to
communicate and display daily schedules for students with autism. For students who can read,
written schedules are recommended. Students with autism often experience frustration and
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anxiety if they can’t see their daily schedules. Using your words carefully, limiting the number
of words that you say, and using nonverbal cues will help eliminate confusion and frustration.
Using gazes and hand gestures to communicate will encourage students with autism to look at
you and make eye contact. To alleviate the anxiety of transitions between activities, use verbal/
nonverbal cues, visual representations, and/or another child in the classroom to assist. Finally,
consult with the child’s team of teachers to explore which communication strategies are being
used in other classes during the day (Hourigan & Hourigan, 2009).
Students with autism may develop challenging behavioral issues, such as taking turns,
completing independent work, or sitting for an extended period of time. They may engage in
echolalia, which means the child will repeat a phrase constantly. This may indicate that the child
is escaping to their comfort zone. This situation allows the teacher to help the student develop
more classroom-appropriate responses. The teacher may need to acknowledge the echolalia and
then direct the conversation back to what is happening in the classroom. Families and other
teachers are excellent resources for music teachers to learn about the triggers and learning
Some students with autism are sensitive to situations and environments including a large,
loud music room with lots of people. Environmental triggers may include a bright room,
classroom setup, loud noises, strong smells, different textures, and anything visually intriguing.
The music teacher may want to meet with the student with autism before class to explain the
schedule and practice the routine. The teacher may need to write the rules and schedule on the
board or paper for the student. A reward system may need to be used to enforce the rules. Music
teachers can use peer volunteers to model appropriate behavior for students with autism
Teaching proper social behavior will assist students with autism to be successful in
school. Everyone in the classroom can encourage the child with autism to engage in suitable
social behavior. Teachers can engage by attempting to make eye contact with the student and
reciprocating with either eye contact or some verbal response. Music teachers can use a
call-and-response song to encourage a response from the child (Hourigan & Hourigan, 2009).
The ability to relate to people, objects, and events is difficult for students with autism.
The music classroom can be the perfect social setting for every student to learn from one
another. Transitions between musical activities may be stressful for students with autism. Music
teachers may want to play recorded music during transitions, provide verbal cues that one
activity is almost done, provide a written schedule, and permit the child time to adjust to the next
activity. The goal for the child with autism is to lead to more independence in the music
classroom. The music educator should allow time for the child to establish classroom routines,
learn to communicate, learn appropriate behavior, and the ability to acquire musical skills and
understandings. Music educators should participate in the special education process and review
This concludes Chapter II, Literature Review. The final Chapter III will provide
information dealing with a few thoughts regarding this writer’s experiences, a summary of
literature, limitations of research, implications for future research, and final conclusion.
I chose this topic because I have been playing the piano for most of my lifetime and I
enjoy music. I want students to have the same opportunity to enjoy and learn about music and
play a musical instrument. Playing the piano/organ has been a blessing for me for the following
reasons: helps to focus and concentrate; challenging; works the brain; enjoyment and something
to look forward to; feeling of accomplishment; creativity; and exercises hand, finger, and eye
coordination. I benefit immensely from playing the piano and believe that students with or
without disabilities could also benefit from learning about and playing music.
Another reason why I chose this topic is that I have been a substitute teacher for the past
8 years and have learned a lot about students and teaching. It has been a blessing as I subbed for
many music education classes and I’ve seen that most students enjoy coming to music class by
observing the following: their eyes light up; energy levels rise; eagerness to learn; enthusiasm to
participate; and/or motivation to engage with peers. It is especially fulfilling when students with
or without disabilities get excited when they participate in musical activities or accomplish a
musical skill. Music education is an exciting, enjoyable, and challenging experience for
students. Music educators, administrators, parents, and special education teachers need to work
together and collaborate so that all students benefit and have equal opportunities in music
education.
Summary of Literature
The amount of research available on the benefits of music in the elementary, middle, and
high schools is lacking in some areas, such as how music benefits students with special needs in
general music and orchestra classrooms for all age groups. Some articles reported on the music
47
education benefits for students with special needs. However, not as many articles one would
expect to see. The research on music benefits for students with ASD was somewhat adequate
and beneficial to readers. There needs to be more research emphasizing the benefits of music
education for other disability classifications, how to best prepare music educators in teaching
students with disabilities, and how universities are preparing music educators to teach students
with disabilities.
Not only is music education beneficial for students with or without special needs, but
teaching music is also beneficial for the teacher. Darrow (2012) stated that music teachers can
become more creative and successful when they teach students with special needs. Music
education benefits for students with disabilities include the following: life, emotional, and social
skills; music development and engagement; emotional intelligence; more positive relationships;
positive self-esteem; assertiveness; and socialization skills. Teaching musical skills, engaging in
music activities, or simply listening to music would be beneficial for students with disabilities in
any general education, special education, or music class. Teachers could also set aside time
every day to implement music learning activities in general education or special education
classrooms. Music could add a positive and enjoyable experience to students’ daily schedules.
Music teachers, at times, may feel overwhelmed and unprepared to teach students with
special needs even when they take classes on teaching strategies and management techniques.
Music education students in universities feel better prepared when they teach and interact with
students with special needs while in college. Teachers and paraprofessionals need to be aware of
the teaching strategies for students with special needs and assist music educators in doing their
jobs. In the future, let's hope that music education does not disappear from the curriculum of
Professional Application
education teacher. I would begin by implementing music classes into my students’ schedules to
see how well they enjoy, learn, and respond to music. I hope to write a research paper on my
findings and learn how students with special needs benefit from music by either playing an
instrument, singing, and/ or simply by listening to music. Each year, I would focus on one or
several students to see how well they learn and progress in music education. My focus in
research would include giving students from all backgrounds, including socioeconomic,
research. I encourage special education teachers, general education teachers, and/or music
educators to conduct their own formal and/or informal research study on how students with
One of the limitations of this topic is the lack of research for all age levels in general
music education. There could be opportunities to see how music education is affecting students
with disabilities as well as students without disabilities in these music education classrooms.
Educators could read and compare peer-reviewed journals to see what works well and what does
not work well with students with disabilities. There is some excellent research on classroom
differentiation, using appropriate accommodations and modifications, and inclusion in the music
education classroom.
Another limitation is the lack of research in secondary school music classrooms. There is
a huge gap in research on how music is beneficial for students with disabilities who participate in
band, choir, and especially, orchestra. Regardless, more students with disabilities need to
49
participate in secondary music ensembles so we can conduct necessary research to see how
students benefit. Finally, there is a lack of research on how music benefits students with
disabilities in regards to their race, ethnicity, and disability category, which should be one of the
For further research implications, I would like to see more music educators and special
research may be easier conducted in music classrooms than in special education classrooms. I
would also like to see more individual case study research, which could involve one or two
individuals with disabilities for a duration of 6 to 9 months. Finally, I would like to see more
research on students with disabilities from a variety of backgrounds, including different races,
Conclusion
The NAfME (2014) emphasizes the importance of the advancement of music education
for all students. Music education programs are now more important than ever for our student’s
social and emotional wellbeing. The goal of NAfME is to provide the best instruction so all
students can learn and grow in their understanding, knowledge, and love of music.
Unfortunately, schools are fighting to keep music classes alive in their elementary, middle, and
high schools. Research studies should be performed to show and prove how music benefits not
only students without disabilities but students with disabilities to keep music education in the
NAfME lists 20 important benefits of music in schools. Here are some of the benefits:
helps develop the area of the brain related to language and reasoning in students who have early
musical training; increased coordination; a sense of achievement; kids stay engaged in school;
emotional development; better SAT scores; helps with spatial intelligence; and better
self-confidence. See the article for more music benefits (NAfME, 2014).
The research on the NAfME website regarding the 20 benefits of music is impressive and
this is only one study. There is a lot of research that supports the benefits of music. Music
educators should enroll in professional development classes continuously to learn how to best
teach students with special needs, whenever possible. Also, special education teachers should
incorporate music into their student’s schedules, if possible. Since there are many benefits of
music education, there needs to be more research performed for both students with or without
disabilities. Educators who are available need to start doing their own formal and/or informal
research studies.
Since music is the most important part of my life, I plan to implement music into my
special education classes, whenever possible. I also want to take as many professional
development classes as I can that would teach me more about the art of teaching music to
students with special needs. I want the opportunity to pass my love of music to my students
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