needs. Indeed, he was subsequently moved to the cello class in which he became so proficient that he was placed as first chair cellist in the orchestra in that first year of music. The following year he decided he preferred the double bass, and immediately became principal bassist in the school orchestra! Difficult? Yes, but given his perfect pitch acuity, he almost does not have to read music! (He is currently 10 years old and on the Autism spectrum.) Playing double bass has become this child’s identity. Grading Ability And Progress From A Music Therapy Perspective Although there are specific curricular requirements for music education, I have not often encountered an alternate curriculum suited for included students. Many special needs students are simply inserted because of “inclusion fever”, but may never achieve required curricular success. The Angelman Syndrome student described above surely learned much about music, tempo, observing a conductor, waiting and turn-taking, taking direction, and generally participating with others in the music-making activity. These are positive learning aspects resulting from the student’s participation in music classes, but it is unlikely that he will read music notation, partake in sight-read or sight-sing, or develop instrumental proficiency skills. Therefore an adapted music curriculum and academic criteria for grading music knowledge required by the general music curriculum would be useful. Grading would require flexibility and modification in order to accommodate gains based on a student’s
“ability”, rather than disability, and different rubrics for determining ‘progress’ would be useful. This involves rating progress based on an understanding of the characteristics of a diagnosis and resultant behaviors, and an adaptation of teacher expectations and agendas. In a future article I will share some information about my Triple A Approach for teacher leadership skills, from the music therapy perspective. The approach is based on the music clinician’s assessment of self, strengths and deficits, goals and objectives, and knowledge used in treating clients. The information can be useful for music educators as well. Meanwhile, I suggest giving the included student a chance to practice developing music skills at the level of the student’s ability, with modified expectations, and with supportive opportunities based on understanding important physiological characteristics that may be limiting the student’s functional adaptation. As clinicians, music therapists are interested in treating a person’s “abilities”, rather than focusing on the disabilities. It can be the same for music educators who can enhance abilities and make ‘inclusion’ a successful learning opportunity.
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