1. Welcome & Session Explanation 1. Sound Check, M aterial - - PDF document

1. Welcome & Session Explanation 1. Sound Check, M aterial Check 2. Broad Personal Goal: Share my experience teaching basic musicianship to students with learning differences. 3. Title: Divine Design= After 6 long years of building a program this year feels like it’s been sent from heaven! Rich – in the quality of the musical experience provided to the students 1

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1. Graduate of Baldwin-Wallace University 2. 6 years experience at Lawrence School building a music program specifically for students with learning differences. 2

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1. Lawrence School 1. Sagamore Hills. Suburb between Cleveland and Akron, S-Wayne County E- Sandusky W-Lake & Geauga 2. School for students who are cognitively average to above average with one or several learning disabilities 3. Language Based Learning Disabilities, Executive Function and SLD in specific content areas or tasks 4. Student population of Lawrence contains: 1. students with undiagnosed learning disabilities (even if already diagnosed with one) 2. students on IEP’s or 504 plans 3. students who are twice exceptional 4. students who want to learn 5. students with untapped potential in music and the performing arts 2. Started the program from scratch, no model other than my own experience and training 3. Early on: Realization that my students had potential, had a challenging educational past, limited musical experiences & limited successes, and that they perceived music differently. 4. Over my years, tried many things, made many guesses, some right, some wrong or that required further review and editing. HOWEVER, key to more frequent success was a willingness to be reflective and let my students show me how they learned best.

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The challenge in providing authentic musical experiences to students with learning differences are the supports that area needed to get them there. 5

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1. Review Agenda & Goals (Agenda & Goals Slide) 1. Agenda: 1. Understanding students with learning differences in the context

• f authentic musical experiences

2. Understanding authentic musical experiences in the context of students with learning differences 3. Curriculum Structure, Instruction and Interventions & Accommodations for students with learning differences in the music classroom 4. Questions & Survey 2. Goals: 1. T

• share my experiences developing a music program, curriculum

and instructional techniques adapted for students with learning differences. 2. Participants leave with a positive perspective on educating students with learning differences. 3. Participants leave with something concrete to try in the classroom to support authentic participation in music. 2. Explain T echnology: T

• day’s M eet (T
• day’s M eet Address & Instructions)

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1. Evidence: (include photos on slide(s)) – Should I show video clips? 1. Choral Program: growth from 6 to 34 over 5 years (pictures & audio clips) 2. Choral Program: 3 45 min concerts per year including commencement 3. M usical: 5 full musicals with cast of 40+ (recording from rehearsal) 4. Expanded Course Offerings: Guitar & M usic Appreciation Course 5. Fringe Benefits: All student technical crews, Intro to Theater Course, M usic M inors, M usic Scholarships, and Participation in musical experiences outside of school, CY OC, youth theater, and 2 music and theater majors. 6. General M usic (M S): Bi-Weekly Authentic M usical Performances, Improvement of basic musicianship over 18 wk period, improved attitude towards musical performance and participation 8

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Share audio from M usical Rehearsal

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1. Why I feel it’s important to give you a comprehensive profile of these students: 1. so many unidentified 2. may appear to be general underachievers or mistakenly self-select

• ut of participation in music (prior unsuccessful musical

experiences) 3. may appear to be poor candidates for a music program (behavior concern or limited skills due to limited musical experiences) 4. academic needs and supports may exclude them from participation in music programs 5. great diversity among this group of students 13

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Student Profile: 1.Profile # 1: ADHD/ Executive Function(Working M emory)/ Slow(er) Processing Speed Executive Function helps us connect past experience to present action, supports planning,

• rganizing, strategizing, managing materials, recalling specific details and paying attention.

Processing Speed: The rate at which your brain processes information, in and out. a.What you see: i.does not appear to be paying attention/ participating fully ii.disorganized iii.slow to or avoids ask/answer questions iv.guessing when answer questions, frequent off topic comments v.appears to be participating but is unsuccessful when assessed b.Impact on M usical Learning: i.Challenges related to : 1.following practicing routine independently 2.struggles to retain musical vocabulary, can recall function and/or application (note names vs/ note values) 3.overstimulation situations in music (written music, dense textures/ busy arrangements) 4.picking up nuanced details, making changes quickly ii.Strengths: 1.can recall function and/or application over vocabulary 2.outstanding long-term memory for high-repetition material 3.intelligent and curious

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Profile # 2: Specific Learning Disabilities (SLD)/ Language Based Learning Disability (Similar to Profile #1) Includes: Dyslexia: effects, reading, writing, spelling, speaking Dysgraphia: effects with handwriting & spelling Dyspraxia: effects hand eye-coordination, dexterity Dysphasia: effects understanding spoken language, reading comprehension Auditory/ Visual Processing Disorder: effects differentiating between sounds and visual information What you see: (similar to profile #1)

• verall the student excels

skill deficits are specific but their impacts may reach into many tasks high levels of frustration or quick to give up assertions that they “ just aren’t good at it ” Impact on M usical Learning: Challenges related to: reading notation (tracking & what to follow in a sea of visual information) attaching meaning to notation musical vocabulary in very few: issues with pitch perception or instrumental technique related to coordination/ dexterity Strengths: memory fast processing making connections working independently

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Profile # 3: Aspergers/ Twice Exceptional What you see: (similar to profile #2) student excels academically withdrawn socially struggles with verbal communication highly literal mentally rigid frustration with and fixation on mistakes Impact on M usical Learning: Challenges with: learning new music (change) expressive musical performance (everything must be marked) improving through practice, individual or group (fixation on errors) Strengths: instrumental technique performing written music exceptional with memorization making connections 16

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Profile # 4: Undiagnosed Just because students aren’t diagnosed with a learning disability doesn’t mean that they do not have one. What you see: varies Impact on M usical Learning: varies Challenges & Strengths: varies, don’t all have them? Common reasons students aren’t diagnosed: parents don’t want students labeled, limited district resources to evaluate, students don’t excel but aren’t failing, generalized belief that they are lazy, attribution to behavior, emotional or concerns from home. Final Points:

• Students with all of these profiles are not staying in our programs,

contributing to lower numbers, fewer enthusiastic participants and missed opportunities to positively impact the life of a student who struggles in school 17

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Once daily for 50 minutes

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Have you ever thought about it like this? Y

• ur level of success or failure making music

depends on understanding these concepts and have these skills. Students with learning differences are twice disadvantaged:

• Lack of consistent or positive musical experiences
• M usical participation targets the weaknesses from their learning differences.

Support is needed and then authentic musical experiences are possible!

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1. Guided Discovery Learning: Ask specific questions about a particular concept to see how students view this concept (ex. Decoding rhythms, Musical roadmapping – finding the beat in written music) (Go to next two slides, rhythms then roadmap) 2. Bridging Gaps & Making Connections:

• break procedures and concepts down to the bare bones and build them back up step by

step (ex. Steady beat reinforced throughout entire curriculum, finger at a time bass, chords, power chords, barred chords, 1slide – counting rhythm 3 slides ahread – Lead Sheet/ Green Card

• explicitly guide students through connecting visual information to verbal explanation to

kinesthetic experience to aural stimuli (beat work in drum unit and transition to written music, “The beat is not written?!”, 2 slides – Roadmap 3 slides ahread – Lead Sheet/ Green Card, 4 slides, keyboard guide

• explicitly guide students through step by step procedures (build-a-band directions) 3

slides- band directions

• frequent formative assessment:
• ensures that you have not lost the students
• helps isolate any conceptual disconnects you may have missed
• provide supports (interventions and accommodations) during independent work refer to

all interventions (next 4 slides)

• small bites, high repetition and daily success of any size refer to all interventions (next 4

slides) Counting formulas, word wall, no b’s/ #’s

• transition through review
• streamline objectives, essential elements only (#’s/ b’s example, note durations and note

names) Interventions, Accommodations & Modifications remove the barriers to making music by reducing the cognitive demand support students learning at their own pace provide support from one day to the next support learning of an authentic piece of music rather than isolated exercises

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The challenge in providing authentic musical experiences to students with learning differences are the supports that area needed to get them there. 28

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