Mortalidad específica por subgrupo

Communication Challenges: A Pre-service Music Teacher’s Perspective

I was working with a class of students who are cognitively and physically chal- lenged, which involves mostly children in wheelchairs. The children for the most part do not show their understanding or recognition of the music or activities, so it’s challenging to plan lessons with the class because it is the teacher’s job to do everything and not expect much feedback from the students.

Vignette 4.3 was written by a student teacher that was faced with teaching a lesson to students who were either non-verbal or had severe communication challenges. Valdes, Bunch, Snow, Lee, and Matos (2005) state: “All teachers, regardless of the language backgrounds of their students, are directly and inti- mately involved with language” (p. 126). It is valuable for music educators to understand that language development is critical to success of students in the music classroom. If a student cannot understand instruction, their skills and understandings will not increase. It is imperative that music educators focus on language components when considering ways to deliver instruction to students with communication and language differences. As mentioned in the cognitive discussion, it is also important to observe the student, either in the music classroom or in other classes, to evaluate a student’s receptive and expressive language skills as part of a formative data gathering opportunity. A recurring theme in this book has been the importance of frequent consulta- tion with the group of professionals who serve with the music educator on the team in various areas of special education services. In this instance, the

Vignette 4.3 (continued )

I was required to do a lesson based on fast and slow with the class. I made a CD of different pieces of music of varying tempos for them to listen to. I gave each student a maraca to shake when listening to the music. The students’ aides were there to assist the students as needed. I wanted the students to shake the maracas fast when the music was fast and slow when it was slow. The aides had to help some of the students quite a lot in this activity, which I expected.

When the music was fast, it was easy to shake the maracas appropriately; however, when the music was slow, the maracas were not very useful. They did not represent a slower tempo very well. There was probably another instrument I could have used for the slower pieces; however, it would not have been wise to switch instruments for each piece with this class because it would have been too chaotic. In this situation, perhaps a different instrument in general would have been benefi cial, but I was not aware this would be an issue until I experienced it.

Mrs. A, the cooperating teacher, assisted me in the lesson to help keep the students involved by having them move around and, whether it be walking or being pushed in their wheelchairs. This gave them a different physical experi- ence with the music, which is always benefi cial in a special education class. In addition, we used PECS (Picture Exchange Communication System)to allow the students to choose fast or slow from a choice of icons I learned that if something doesn’t work as well as desired, then I should try to adapt my lesson as best as I can so that I keep each student involved.

A Resourceful and Pedagogical Approach 83

Figure 4.6 Picture Exchange Communication System (PECS)

speech pathologist or speech teacher would be an excellent resource. They will be able to recommend specifi c teaching and learning strategies such as communication systems that are needed to assist a student who is in the music classroom.

One particular communication tool that many special educators use is the Picture Exchange Communication System (PECS) see (fi gure 4.6). This system allows many students who have communication challenges a visual and simplifi ed way to communicate with teachers and other students. Many school districts already own the program Boardmaker. This program has many music icons available for use.

A Picture Exchange Communication System (PECS) can be used in the music classroom to express needs and choices for students with disabilities who have diffi culty in the area of communication. If students are choosing an activity or instrument, pictures of the choices can be presented to the student who can then point, nod, or use a method of communication comfortable to them to express their choice. A PECS is also helpful when students need to signify understanding, or a lack of understanding, as well as when a student needs a break from instruction to rest or attend to personal care issues. Stu- dents can also indicate understanding of a concept. For example, if an early elementary class is working on the difference between beat and rhythm, a teacher can create a PECS with the two choices in picture form. The student can indicate whether the beat or rhythm is being demonstrated during an activity. In addition to Boardmaker, music educators often take pictures of choices and options available in their classrooms. These pictures can be lami- nated and presented as PECS for students with special needs. Special educa- tion teachers and staff members are acquainted with these systems and may have many PECS options available for use in the music classroom.

It is also important to consider the above information and the way it relates to a student’s ability to receive, understand, and express music. There may

or may not be a direct connection between the two. For example, a student with autism may be able to express herself musically; however, she may have considerable communication challenges otherwise. Music educators must consider both instructional and musical language challenges that may arise in the classroom and how to modify the classroom in a way that will remove barriers for students with special needs. A student’s language ability may help or enhance their musical ability or vice versa. Working in tandem with the special education team may benefi t the student in both language and music.

TEACHING MUSIC TO STUDENTS WITH BEHAVIORAL