2/8/2017
Topic:
Students with Disabilities
Angela Hartvigsen
|
As I reflect on these posts, I am reminded how important it is for teachers to get to know their students. while thoroughly understanding the characteristics of a student's disability and the laws governing his/her access to education and a music education, it is most imperative to know the student. Simply reading about the teachers that have shared in this forum about their students with autism, it is clear that these teachers found the most effective ways to allow the student to be successful in music class by getting to know that specific student. Although this is key to success for all teachers with all of their students, it is even more vital when working with students with disabilities. For Tracy, it was understanding that her student, while high-functioning, worked best on his own, while for Ivy it was finding ways for her student to hold the instruments differently. Both teachers cited autism but their modifications were each truly unique, like their students. Kudos to these teachers for focusing on ways to address the individual needs of their students and for making their music experiences impactful. |
3/12/2017
Topic:
Assessment of Learning
Angela Hartvigsen
|
When students are prepared to sight-read in a group for MPA or a similar situation in which they are reading and performing music they haven't previously played,the process a good secondary instrumental director uses with his whole ensemble is very helpful in scaffolding for the non-disabled and disabled student alike. The process of looking through key changes, musical terms, potentially tricky rhythms, etc.; having students talk through the elements of the passage with a stand partner and chanting the rhythm on "ta" all take students through a sequence of smaller steps creating a helpful and consistent task analysis for them It's good teaching for all students in the ensemble. Additionally, when I have had students with challenges of reading the music fluently and not getting lost, I have placed them with section leaders or stronger players within the section to have opportunities of cooperative learning to work on a particularly difficult passage together and solve issues and confusing rhythms. |
3/12/2017
Topic:
Tools and Strategies
Angela Hartvigsen
|
When students are prepared to sight-read in a group for MPA or a similar situation in which they are reading and performing music they haven't previously played,the process a good secondary instrumental director uses with his whole ensemble is very helpful in scaffolding for the non-disabled and disabled student alike. The process of looking through key changes, musical terms, potentially tricky rhythms, etc.; having students talk through the elements of the passage with a stand partner and chanting the rhythm on "ta" all take students through a sequence of smaller steps creating a helpful and consistent task analysis for them It's good teaching for all students in the ensemble. Additionally, when I have had students with challenges of reading the music fluently and not getting lost, I have placed them with section leaders or stronger players within the section to have opportunities of cooperative learning to work on a particularly difficult passage together and solve issues and confusing rhythms. |
3/12/2017
Topic:
Assessment of Learning
Angela Hartvigsen
|
I had a bass player with Asperger's Syndrome in my orchestra. She was a very technically skilled bass player when the whole group was performing but she was very reticent about performing individual playing tests in front of the rest of the class. I believe this was both because the routine of whole class was interrupted during that method of testing and because, despite her mastery of the material, her discomfort with being singled out to play alone. To address this, I devised a method of testing that followed a routine of students testing in small ensembles of one player per section that was always structures the same way. My bass student felt more comfortable because she knew what to expect and she didn't have to play all alone but I was still absolutely able tp hear and visually observe her mastery of the playing skills being assessed. In fact, since there were so many fewer basses than violins, she would repeatedly volunteer to play for groups needing a bass even after she'd played for her assessment. |