5/26/2025
Topic:
Students with Disabilities
Milton Threadcraft III
|
One student I taught had a medical condition that required an exposed port for treatments, which limited her mobility, energy, and proximity to peers. In general music, movement is essential—whether it’s walking the form of a song, clapping or stepping out complex rhythmic patterns, or using gesture to support memory and lyric learning. For her, I adapted these activities by offering seated movements, finger tapping, scarf motions, or conducting gestures instead of full-body movement. When peers were involved, we used mirrored or call-and-response setups to maintain social interaction without physical contact. These simple but intentional adjustments ensured she remained musically engaged and included. |
18 days ago
Topic:
Tools and Strategies
Milton Threadcraft III
|
Describe how two of the strategies discussed could potentially be implemented in your classroom. Be sure to identify the two strategies by name and describe how they could be used to address the needs of a student with a disability.
It was hard to narrow down to just two strategies despite recognizing some notable ones already being implemented. But the following three seem to complement each other and could have immediate impact in my classroom. Three strategies I could incorporate more are tiered lessons, cubing, and flexible grouping—each designed to further differentiate instruction and support the diverse needs of learners, including those with disabilities.
Tiered lessons would allow students to work toward the same learning objective while engaging with content at varying levels of complexity and support. For example, in a lesson focused on rhythmic patterns, I might design three tiers: one for students reading and performing standard notation, another using color-coded or simplified rhythms, and a third using body percussion or rhythm composition tools on a digital platform. A student with ADHD or a processing disorder could participate meaningfully in a tier that matches their current skill level, allowing them to feel both included and challenged.
Cubing could be used to invite students to explore a musical concept, such as melody or mood, from six distinct perspectives using prompts like Describe it, Compare it, Apply it, Analyze it, Associate it, and Illustrate it. This strategy encourages critical thinking and offers flexible access points. For students with learning disabilities, I might modify the cube with visuals or simplified language. More advanced learners could extend their thinking through written responses or creative presentations. Cubing fosters deeper engagement and varied forms of expression.
Flexible grouping would allow students to work in varied configurations based on readiness, interest, or learning style. For a student with a health impairment that limits energy or social interaction, I might pair them with empathetic peers in a calm, small-group setting or offer independent work with periodic check-ins. This approach reduces pressure while maintaining social inclusion and engagement in collaborative music-making on the student's own terms.
Together, I believe these strategies would promote equity, access, and meaningful participation from a higher percentage of students across grade levels. Increasing the use of strategies like these ensures that all students, including those with disabilities, can thrive in the music classroom through thoughtful differentiation and responsive teaching. |
18 days ago
Topic:
Assessment of Learning
Milton Threadcraft III
|
Describe an example of adapted assessment you have successfully used in the fine arts classroom for students with disabilities.
Two examples of adapted assessments I’ve successfully used in my music classroom involved a unit on rhythm and form for upper elementary students (intermediate-3rd thru 5th grades). One student had a visual impairment and a processing disorder, which made traditional notation reading and written assessments inaccessible. In alignment with UDL principles, I designed the assessment to include multiple pathways for demonstrating understanding.
Instead of relying solely on visual sheet music, I used color-coded rhythm cards with raised textures, audio recordings (YouTube) of rhythmic examples, and guided verbal instruction. This allowed the student to access the content through tactile and auditory formats.
Rather than requiring written notation or paper-based tests, I provided students with a choice: they could clap or tap back rhythmic patterns, build rhythms with printed manipulatives, or use a music app to create and record a short rhythmic compositions. The student with a disability chose to construct a rhythm sequence using large-print cards and then performed it using a hand drum, with guided audio support.
Moving forward, in order to maintain motivation and support developmental appropriateness, I will incorporate a “choice showcase” at the end of the lesson, where students can select how they want to share their learning—by performing a short rhythm for a partner, creating a short movement sequence to match a rhythm, or selecting a classroom instrument to demonstrate a learned pattern. I would adapt this assessment by replacing the traditional written reflection with a "musical mood meter", which can be a simple chart with expressive icons representing different musical feelings (energized, calm, proud, confused, etc.). Students can then identify their emotional response after the lesson and could optionally explain why, using their own words and/or drawings.
The prioritization of fairness in assessments provides new avenues to obtain valuable insight into both student emotional engagement and readiness for self-assessment, while ensuring that even students with limited language or writing abilities can participate meaningfully in reflective learning. |