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Increasing Meaningful Inclusion Procedures for Other-Abled Students: Focus on Autism
by Angela Holmes, Southeastern Section Students with Disabilities Rep Kelly Anthony, Southeastern Section Diversity, Equity, Inclusion Rep Phil Villalobos, Southeastern Section Advocacy Rep
The statistic that 1 out of 68 students is on the Autism Spectrum has been holding for many years. Therefore, educators need to keep current with the strategies and procedures that build success for students who learn differently, but visually do not seem to be “different” in their learning capabilities. The answer to addressing how we can improve the achievement of students with autism in a classroom setting, especially a music classroom, is to first understand the general characteristics of autism and then understand that instruction is the same, with modifications. The first goal is to build trust and confidence, followed by specific classroom modifications that address the students’ feeling of safety, appropriate behavior, and ability to focus.
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This article will help the classroom teacher to understand that the student with autism can learn, but the path to accessing information will be modified to their psycho-emotional abilities and not necessarily their cognitive abilities. It is presented as a “to do” list, designed to integrate a student into an educational environment when their learning pattern experiences the world from a different perspective and therefore needs to have an accommodated program of instruction. The goal is to reach a positive teaching and learning relationship by building confidence, erasing fear and gaining trust in order to master concepts and skills.
The following is a list of actions that teachers use with all students. The examples presented are modifications to those common actions that most students easily follow. Students who learn differently will require accommodations in order to remain on a path of an enjoyable music education experience.
Anticipation
One of the most important actions that a teacher needs to take before meeting their students is to know them. Knowing a student with autism is knowing more than their academic ability and attendance pattern. If a student has an Individualized Education Plan (IEP), it must be read by the classroom teacher. There is a wide variety of instructional knowledge about a student in the plan, which in turn gives the teacher the ability to prepare for that all important time of the first meeting and first instructional day.
Reading through the full IEP report is always recommended, but a teacher can refer to the summary document, “Passport,” as well. Goals for music may not be included if advocacy for this subject has not been requested. Regardless, there will be behavior goals and accommodations noted that will be specific to each student that will be helpful in all learning settings. Studying this document and taking notes from it will be helpful throughout the year and may be directly applicable in a music classroom.
It is also recommended, especially in an elementary music setting, where there is a large case load to teach, that the music teacher maintain a positive, on-going conversation with the home room teachers. Grade level colleagues can help distill information about individual students in short, manageable bits of information
which can be easily applied in the music classroom. Also, encourage home room teachers to remain with their class during music instruction. It may be helpful for the teacher to incorporate the music being taught into other areas of the curriculum or behavior structure in the classroom, such as using it to line up. Finally, if a student has a one-on-one aide, insist that the aide remain with the student during music instruction.
Another important step in getting to know your students is to schedule an introductory meeting with the student and parent. If at all possible, arrange this meeting prior to the first day of class. Let school personnel who assign students to classes know that you would like to arrange a pre-placement meeting before the first day of attendance.
Two very important actions need to be taken at the very important first meeting. The contact is the beginning of the development of trust with the parent and student. Each one will be sensitive to the teacher’s demeanor. Therefore, a positive, open welcome is key to the beginning of a productive relationship. The second action is to allow the exploration of the classroom by the student. Depending on sensory preference, this may even include running what seems to be odd behavior, such as running hands or face, along the walls. Do not react in surprise, express a demeanor of tolerance and understanding. Allowing the student to explore will continue to build trust and reduce the potential fear of being in an unfamiliar environment. Remember, one of the common characteristics of a student on the spectrum is discomfort and possibly resistance to change.
Keep in Touch
All students who struggle in school usually have many parent conferences throughout the year. Setting up quarterly meetings with a student who learns differently is highly recommended in order to maintain trust with the student and parent. Depending on the student, the student and parent may have had negative encounters with other school personnel. Having a regularly scheduled, short meeting which is not based on a negative report can be a powerful action to maintain the support of parents for the student and teacher. • If more than one student is assigned to a class with an IEP, have quarterly group parent meetings. It will be a great time to talk, to review current instructional goals and preview upcoming events. • Bringing parents together has the side benefit of an often unrecognized parental need, parents sharing common concerns with other parents. • Make time to meet with the student. • If the student has an IEP, keep regular contact with the case manager. The case manager can often support the classroom teacher with the application of information in the IEP and make you aware of changes in the IEP if the music teacher was unable to attend annual meetings. The case manager, or in the case of an elementary student, the classroom teacher, can share recent academic and behavioral strategies that are having positive results. The case manager may also have important personal information that may be helpful. Above all, talking with a colleague who knows the student can lead to brainstorming, leading to other ways to help the student. • Follow the 504 plan to be aware of the focus and requirements of the documented plan of action.
An other-abled student may not process and learn classroom expectations as quickly as other students. The most important position to take when teaching classroom rules is PATIENCE. Other students will hear and read the rules in the music class and be able to follow them on the first day, but special learners will take time to adapt to a setting/classroom that may be different than the structure of most classroom environments.
Some students may take a longer time to understand the rules of a classroom and why they are important. Give positive feedback as time progresses. This needs to be frequently recognized in a positive manner. Keep reminding yourself that patience is key and that each student has a different learning pattern. If the student has a behavior goal in the IEP, it may be helpful to incorporate related strategies in the music classroom. Again, review recommendations and maintain contact with the case manager and parents because it is probable that they are also working with similar strategies in their classrooms and at home. • Schedule regular meetings with the student to review and reinforce expectations. • Maintain a visual representation of all behavior expectations in the music classroom, such as a classroom rules and use of equipment chart. • Use clear language when posting charts. • As a reminder, place a copy on the student’s music stand or table. If a behavior needs to brought to the student’s attention, the teacher can quietly pass the student’s desk and point to the behavior that needs to change. • Send a copy home for review and discussion. • Give a copy to the case manager/special education teacher so it can be explained and reviewed in that setting as well. Many of the music expectations may be the same.
Distinguishing Boundaries
In a music classroom, sensory triggers and time tolerance are critical issues to know about each student. Here is where unpleasant interactions can be avoided if this information about the student is known ahead of enrollment. The first line of information can come from the IEP, the case carrier and special education teacher. The second contact for information can be the student and parent during scheduled meetings. If not, it is very helpful if the parent can pre-warn school personnel of an issue that may affect the student in school, the latter being something that the teacher can request in a first meeting.
Every teacher working with a student on the spectrum needs to know the sensory triggers of each student. A student may have one or more. Familiarize yourself with what they are from the sources mentioned previously. Ask if there are any other behaviors to be aware of, as well as when a negative trigger can be expected. Also ask for the range of intensity. Sound is very common. The task will be to determine the level of tolerance and accommodate to that level by developing a plan for the student when they reach that level of discomfort/tolerance. One of the common interventions is to move to a designated area until the intensity has diminished.
Related to sensory triggers is sensory learning. Example, a student may need to rub their face with the paper before they can read it. Easy accommodation, but may draw ridicule from other students. Plan for how that can be avoided, i.e. have it read at home first or the student can go to a quiet corner in the classroom with their back to the classroom. Avoid the term “Time Out.” If possible,
designate a “Sensory-Free Zone,” without naming it for students who need that accommodation.
Another issue that is heightened in a music class is time tolerance. How long can a student focus before needing a break? This is not determined by age and may be different in different settings. After determining the amount of time needed, a plan should be developed that accommodates the need for a specific location in the classroom where the student can sit or lay, for a specific time. Leaving the classroom is not an option if the student does not have a one-on-one aide, but there are other classroom areas that the student can move, where it allows them to be in the classroom, but not focused on the sound of music and instruction for a designated time. The time allowed for a break from instruction will vary for each student. • Avoid locations of distraction, i.e. windows • Color may be a distraction and a trigger. Consider color when decorating the classroom.
Every Elementary music classroom has at least one, and frequently many more, other-abled learners enrolled. Frequently, the student is on the spectrum. These suggestions are based on understanding the general characteristics of autism: • Be flexible with expectations of “correctness.” Meet the students where they are whether it is singing, chanting, moving or playing an instrument. • Students who have challenges with communication can benefit from a system of picture icons, such as the Picture Exchange Communication System (PECS). • Prepare students for changes to the schedule or routines. Start preparing the student at least a week ahead of time for the change. Example: tour the performance space ahead of a performance or let them hear a new piece of music at home before you conclude teaching the current piece. • Provide opportunities for social interaction through songs with partner activities or structured partner discussions. • Students may have different responses to songs and activities, especially if the song has an emotional trigger. Acknowledge and celebrate the unique connection the student has with the music.
Specific Secondary Music Classroom Accommodations
In the secondary instrumental setting, other-abled learners have the capacity to achieve at a high level of success, understanding ways to physically produce music on their instrument. The challenge that many of these students have is musical notation reading and processing. • Allow students to write on their music sheets. For many students this helps them read it. • Color code different notations on their music, i.e. blue means soft, red means loud, orange means new tempo, etc. There is no standard rule for the choice of colors. • Write in the note names or fingerings. This may be a debatable topic among music educators, referring to the area of being “music literate.” The rationale applied here is that the ultimate goal should be allowing special learners access to music material. For some students, a quarter note
on a line doesn’t read the same as writing G in large letters to be able to read, or to eliminate the musical notation completely. • Rewrite parts that are easier to play. • Enlarge the sheet music for easier visual access. • Partner students who can be peer tutors during instruction. This strategy needs to be understood by the other students in class as an acceptable behavior. If possible, assign more than one student to this task and rotate their assistance. • Offer teacher tutoring during lunch or after school at designated days and times. This time can also be a good opportunity to interact with the student regarding how they feel in class.
Make Time
Accommodating the increased inclusion of a wider variety of learners in all K-12 classes is supported by research that concluded that when a student does not represent the mainstream, whether they are other-abled, culturally diverse or linguistically diverse, they learn at a higher academic level of success when they sit alongside their peers, versus placement in a segregated environment. When focusing on students with autism, each possesses unique characteristics. In order to truly know each child, that is, to understand their unique traits, the educator needs to determine the student’s primary method of processing information and then proceed to addressing the integration of individuals in the music experience by making the necessary accommodations, all of which takes a great deal of effort. In this very challenging educational environment for students on the spectrum, adopt this thought: Teaching is creating a balance between flexibility and adaptability. To achieve this balance, make time and keep in touch with all the resources available. Grasping the procedures listed in this article will increase a sense of accomplishment for the teacher and more importantly, allow the student to engage in the opportunity to express the music that is within them.
