Contents
Introduction
Chapter 1
KS3 Music
Introduction
1.1 Introduction to Music in the National Curriculum
1.2 The Music National Curriculum KS3 Programme of Study
1.3 Ofsted
1.4 Musical Futures
Summary
Chapter 2
Autistic Spectrum Disorders
Introduction
2.1 Autistic Spectrum Disorders
2.2 Asperger’s Syndrome
2.3 High-Functioning Autism
2.4 pervasive developmental disorder
2.4.1 Retts Syndrome
2.4.2 Fragile X Syndrome
2.5 Semantic pragmatic disorder
Summary
Chapter 3
Education ‘Inclusion’ Differentiation
Introduction
3.1 Inclusion
3.2 Inclusion in the Music National Curriculum
3.3 Inclusion in the Music National Curriculum KS3 Programme of Study
3.4 Inclusion in Ofsted – “Making More of Music”
3.5 Inclusion in Musical Futures
Summary
Chapter 4
Making Music Inclusive in the Secondary School
Introduction
4.1 In the Classroom
4.2 In Performance
4.3 With Compositions
4.4 Workshops
4.5 General
Conclusion
Bibliography
Introduction
Inclusion within the secondary school is currently a central issue within education. Focusing on Key Stage 3 Music and Autistic Spectrum Disorders as my chosen areas within education, in this section I will be firstly exploring the topic of Key Stage 3 Music with a focus on the Music National Curriculum, the Music National Curriculum Program of Study, current Music Ofsted reports and Musical Futures.
Secondly, I will discuss Autistic Spectrum Disorders including Asperger’s Syndrome, High-Functioning Autism, Pervasive Developmental Disorder and Semantic Pragmatic Disorder. I will cover the basic symptoms and difficulties which these disorders can bring for students which could have an effect on their learning. Since many of the disorders within the Autistic Spectrum category are still being debated upon (such as High-Functioning Disorder and Asperger’s Syndrome) I will also be highlighting key differences between all four of these disorders. Also I will be briefly touching upon Pervasive Developmental Disorders which are not in the European Autistic Spectrum which are Retts Syndrome and Fragile X Syndrome
Thirdly, I will be discussing “Education ‘Inclusion’ Differentiation” where the meaning of inclusion as a whole, inclusion within music and inclusion in relation to disabilities, more specifically Autistic Spectrum Disorders, will be highlighted from several sources. Following that, I will be studying each of the previous documents, the Key Stage 3 Music National Curriculum, the Music National Curriculum Program of Study, Ofsted’s report “Making More of Music”, and Musical Futures, highlighting issues of inclusion which have been brought to light within the documents themselves and issues of inclusion which I myself have found after having looked at Autistic Spectrum Disorders. As I am covering these issues of inclusion I shall be suggesting several ideas which could overcome these issues of inclusion using information I have discovered during the previous chapter. I will be looking at music education as a whole including the effect certain classroom activities and other day to day tasks, within music education, can have on Autistic Spectrum disorders such as the difficulty in achieving as other non-Autistic student would and how small changes can be made to make teaching music inclusive for Autistic Spectrum students.
In the fourth chapter I will be bringing together all of the above information and picking out specific areas which are the most important and dividing them into the sections ‘in the classroom’, ‘in performance’, ‘with composition’ and ‘workshops’ getting the information ready to be put into a final booklet.
Finally I shall conclude my findings and summaries how Key Stage 3 music can be made into an inclusive subject for students with Autistic Spectrum Disorders highlighting key points to consider which will have been flagged during this dissertation.
These key points will then be used as part of a guide book for Autistic Spectrum Disorders within Key Stage 3 music which has been created and a copy will be enclosed with this dissertation.
Chapter 1 - KS3 Music
Introduction
In this chapter we will be looking specifically at documents used to aid teachers teaching Key Stage 3 Music.
There are a range of documents which support teachers when teaching for example, the music national curriculum, the key stage 3 program of study, ofsted’s report ‘making more of music’ and musical futures.
1.1 Introduction to Music in the National Curriculum
The Music national curriculum is a document created for compulsory subjects, such as music, listing areas within the chosen subject which need to be studied. The particular national curriculum relevant to this dissertation is for key stage 3, ages 11 to 14, for the subject music, and was revised in 2006.
Within this document inclusion has been highlighted as has what it defines as those which need to be included. Alternatives have also been suggested so that children can still meet the requirements of the curriculum even if some areas will not be possible such as listening activities for deaf children. The Music National Curriculum goes into more detail in the document entitled ‘Music National Curriculum KS3 Programme of Study’ which I will look at next.
1.2 The Music National Curriculum KS3 Programme of Study
This section considers the Programme of Study within the music national curriculum at key stage 3. The programme of study comprises four sections; key concepts, key progresses/processes, range and content, and curriculum opportunities. Firstly the document outlines the three aims of the curriculum being:
• “successful learners who enjoy learning, make progress and achieve
• confident individuals who are able to live safe, healthy and fulfilling lives
• responsible citizens who make a positive contribution to society.”
(Page 179)
These are what the Music National Curriculum hopes for the children will become.
Within section 1, Key Concepts, it is further broken down into five more sections being; Integration of practice, cultural understanding, critical understanding, creativity and finally communication. These sections cover the development of understanding, knowledge and skills within the three main areas being composition, performance and listening alongside working in groups and how music relates to emotions and how to review and evaluate. (Music National Curriculum page 180) Likewise section 2, Key processes, is broken down into two sections being; Performing, composing and listening and Reviewing and evaluating. And on a whole these sections provide a breakdown of section 1 listing more specifically what a student should be able to do. Section 3, Range and Content, is aimed at the teaching giving suggestions to what they should include.
Section 4, Curriculum Opportunities, states what the curriculum should offer.
1.3 Ofsted
Key documents which informs practice at key stage 3 are ongoing. Ofsted reports. The most recent Ofsted report, ‘Making more of music’, published in February 2009, outlines; achievement and standards, the impact of music on students’ personal development, teaching and learning, the curriculum and other activities, and leadership and management. The information provided in this document is complied of results of Ofsted visits to secondary schools and how Ofsted believes that good teaching practice can be improved from these results.
From analysing the document for the purpose of this dissertation, several points for consideration can be raised. These are; what Ofsted defines as effective teaching, how assessments should be carried out and the use of the curriculum and extra curriculum activities. All of these areas are essential when considering special needs within music as they are the three main areas within teaching.
1.4 Musical Futures
Following consideration of Ofsted’s ‘Making more of music’ (2009) this section includes ‘Musical Futures’ (2006) which is another important source of information for this dissertation. It describes itself as being:
“…a new way of thinking about music-making in schools
that brings non-formal teaching and informal learning
approaches into the more formal context of schools.”
(page 9)
Research for this project began in 2003 examining various aspects of music education from universities, music schools, community music services and many other organisations (page 10). Originally designed for Key Stage 3, the organisation has since expanded to include primary schools and special needs (page 11). In 2006, tried and tested teaching materials were published and made available free of charge before in 2008 where the ‘Champion Schools’ programme was launched.
Within this document there are several key chapters which will be most relevant to this dissertation. These chapters being; Guide to ‘Classroom Workshopping’, ‘Informal Composing’ and ‘Buildings, Space and Musical Futures’. Within these chapters there are mini projects for staff and give a much more general advice for staff in a much easier format to understand than any of the previous documents.
Summary
Where Music in the National Curriculum, The Music National Curriculum KS3 Programme of Study and Ofsted’s ‘Making more of music’ give the necessities, Musical Futures gives the tips and tricks to make teaching more enjoyable. Musical Futures, having made programs for special needs and with its ‘breaking the mould’ (Musical Futures) attitude will help more with the variety of alternative options for teaching a class with anyone with Autism.
Chapter 2 - Autistic Spectrum Disorders
Introduction
Within is chapter I will be looking at Autistic Spectrum Disorders and how these conditions affect the individual diagnosed with a specific Autistic Spectrum Disorder. There are four main autistic spectrum disorders which this chapter focuses on. These are Asperger’s Syndrome, High-Functioning Autism, Pervasive Developmental Disorders and Semantic Pragmatic Disorder.
2.1Autistic Spectrum Disorders
Autistic Spectrum Disorders are a group of developmental disorders which affect the individual largely in the social capacity making them unable to interact with peers as easily as those without autistic spectrum disorders. This creates isolation from others in their day to day life. Autistic Spectrum Disorders last for the entire life of the individual and as such there is no cure for these disorders. Autistic Spectrum Disorders are named as such as there is a great variety of how these disorders affect people and how strongly the symptoms are present meaning that someone can have the condition mildly or more severely than others with the same disorder, it also means that two people with the same disorder are unlikely to be the same as within Autistic Spectrum Disorders there can be fixations and obsessions which can be of extremely different subjects.
2.2 Asperger’s Syndrome
Asperger’s Syndrome is a developmental disorder which can be divided into three main areas which are defined by the National Autistic Society’s publication “What is Asperger Syndrome and how will it Effect me”
• “Social communication (knowing what to say to other people and what they are saying to you)
• Social understanding (knowing what to do when you are with other people)
• Imagination (thinking about things that aren’t real)”
(NAS, 1999)
Although these are the three main areas those with Asperger’s Syndrome will be better in some areas, almost to a point where it is barely noticeable, to being worse in others and no two people with Asperger’s Syndrome will be the same with their wide differences in how they remember, what obsessions they have and how well co-ordinated they are. The only thing which will link these people is their difficulty in social situations but even that will vary from very talkative to extremely shy.
Although with Asperger’s Syndrome, and in fact all Autistic Spectrum Disorders, just because they are unable to interact on the same level as other children does not mean that they are less intelligent. Quite the opposite, children with Autistic Spectrum Disorders, even more so if it’s Asperger’s Syndrome or High-Functioning Disorder, make up in other areas for what they cannot do socially. In Friedlander, Diana’s report "Sam comes to school: including students with autism in your classroom." she describes one area where children with Asperger’s Syndrome can in fact exceed other children.
“Parents often report to teachers that their child possesses precocious reading decoding ability with little to no instruction. Hyperlexia (precocious reading
ability accompanied by difficulty acquiring language or social skills) is not a
rare phenomenon in these children.”
(Friedlander, 2009)
Hyperlexia is one disorder which can commonly be found with various Autistic Spectrum Disorders alongside Obsessive Compulsive Disorder. This means that children with Autistic Spectrum Disorders are just like other non-Autistic children in that they also have strengths and weakness although a bit more extreme.
2.3 High-Functioning Autism
High-Functioning Autism is usually used as another name for Asperger’s Syndrome although the two disorders vary somewhat. Also the diagnosis of Autism has been wrongly used for badly behaved children. Dr Tom Berney, the lead clinician and autism specialist at Northgate and Prudhoe NHS Trust in Morpeth, commented in his paper that:
"There is a risk of the diagnosis of autism being extended to include
anyone whose odd and troublesome personality does not readily fit
some other category. Such over-inclusion is likely to devalue the
diagnosis to a meaningless label."
(Berney, 2000)
Like Asperger’s Syndrome, those with High-Functioning Autism have difficulty in social situations and find is difficult to read people’s emotions and predict other people’s reactions to situations. Unlike in Autism, where the individuals have learning difficulties, High-Functioning Autism is only present in those with an IQ of 75 and above. Again like Asperger’s Syndrome, those with High-Functioning Autism love routines and order and may become distressed if these routines and orders are disrupted. Also, like with Asperger’s Syndrome, in High-Functioning Autism the individuals have areas of particular interest and if something does not meet this interest then the work done will be to the bare minimum or ignored completely.
Although there are many similarities between Asperger’s Syndrome and High-Functioning Autism, the main difference is thought to be in language where those with Asperger’s Syndrome do not have the delayed language development in early life.
There is a debate whether two separate disorders are needed especially since an individual can be diagnosed firstly with High-Functioning Autism in early childhood which may then be changed to a diagnosis of Asperger’s Syndrome once the child has started school. In fact, there are those who diagnose Autistic Spectrum Disorders who believe that it is not possible to diagnose Asperger’s Syndrome before a child has been in a social setting, such as school, because social skill deficits may not be apparent in a controlled environment like when at home. Despite this the two disorders are classified separately because it is believed that there are different age onsets between these two conditions and a difference between the motor skills.
In short, the main difference between High-Functioning Autism and Asperger’s Syndrome is that High-Functioning Autism can be apparent from a younger age as the age onset for development difficulties is earlier than that of Asperger’s Syndrome.
2.4 Pervasive Developmental Disorders
Pervasive Developmental Disorders are the American equivalent to Autistic Spectrum Disorders although within Pervasive Developmental Disorders there are also two other disorders; Retts Syndrome and Fragile X Syndrome which would not appear on the Autistic Spectrum Disorder because they are seen as disorders which are separate conditions with some similar symptoms.
Although I will not be looking too closely at disorders which do not fall on the Autistic Spectrum I do feel that they should still be covered briefly as there is likely to be some cross over between European and American classifications.
2.4.1 Retts Syndrome
A disorder which is classed within Pervasive Developmental Disorders but not Autistic Spectrum Disorders is Retts Syndrome, a rare neurological disorder that, unlike Asperger’s Syndrome, affects more females than males. An individual with Retts Syndrome will have both psychical and learning difficulties. Because this is such a specialized condition it is highly unlikely that a child with Retts Syndrome will attend mainstream schools.
2.4.2 Fragile X Syndrome
Another disorder found in Pervasive Developmental Disorders and not within the Autistic Spectrum is Fragile X Syndrome. It is a mental impairment with individuals ranging from having almost no symptoms of Fragile X to having learning difficulties, although the disorder can affect individuals physical also with suffers having flat feet, large ears and other such abnormalities.
Both of the above disorders will not be included within the final booklet although since Pervasive Developmental Disorders are strongly linked with Autistic Spectrum Disorders it required a clear definition of the difference between the two.
2.5 Semantic Pragmatic Disorder
Semantic Pragmatic Disorder was originally used to describe people who were non-autistic (Muggleton, 1997) although now it is part of the Autistic Spectrum. Julia Muggleton describes the features of this disorder as being:
• “delayed language development
• learning to talk by memorising phrases, instead of putting
words together freely
• repeating phrases out of context, especially snippets
• remembered from television programmes
• muddling up 'I' and 'you'
• problems with understanding questions, particularly
questions involving 'how' and 'why'
• difficulty following conversations”
(Muggleton, 1997)
Autistic Spectrum Disorders and Semantic Pragmatic Disorder were originally separate because specialists insisted that the Autistic symptoms which were present were only because of language difficulties but research since then shows that there is likely to be a cognitive impairment which causes both Autistic Spectrum Disorders and Semantic Pragmatic Disorder (Muggleton, 1997).
Bishop, 1989, describes a long scenario where several specialists argue over what diagnosis to give a child arguing between Asperger’s Syndrome, Semantic Pragmatic Disorder before they settle on Pervasive Developmental Disorder Not Otherwise Specified but this shows the close link between Autistic Spectrum Disorders and how much these disorders cross over in their symptoms. This shows that techniques for one disorder can in fact be applied to some degree across the whole spectrum.
Summary
Overall, Autistic Spectrum Disorders effect children socially creating a serious peer boundary which will need to be the main focus addressed in the following chapter “Education ‘Inclusion’ Differentiation”. Addressing classroom behaviours and obsessions will be considered when reading through each of the documents outlined in the previous chapter.
Chapter 3 - Education ‘Inclusion’ Differentiation
Introduction
Within this chapter I will be exploring inclusion firstly by its definition generally, then musically and finally from a disability prospective. Following that I shall be divulging main issues involving inclusion found with the key documents examined in the previous chapter bringing forth issues both raised by these documents and issues which I myself have discovered.
3.1 Inclusion
By definition, inclusion is:
“The addition of somebody or something to, or the presence of somebody
in, a group or mixture”
(Encarta Dictionary)
Therefore inclusion within music is where someone participates in a group by performing a part, suggesting ideas, works with others to create a composition.
And finally inclusion when considering disabilities is where, despite any differences a person may have, they are accepted within a group or community and are able to contribute to the group or community without fear of exclusion.
For this dissertation inclusion will specifically be where the child with an Autistic Spectrum Disorder is able to work with the rest of the class in various size groups without having to be separated for alternative work or have their grades effected because they are unable to understand the task which has been set.
3.2 Inclusion in the Music National Curriculum
The Key Stage 3 Music National Curriculum already has a section for inclusion which should be considered when planning a lesson. The categories which the Music National Curriculum states should be considered are:
• “the gifted and talented
• those with special educational needs and disabilities
• pupils who have English as a second language
• the different needs of boys and girls.”
(National Curriculum, 2009)
On its website the National Curriculum goes on to suggest several points which could be used to help overcome any difficulties which may arise, one of which could apply to children with an Autistic Spectrum Disorder.
• “encouragement to use their voices expressively and, when responding to music, to use different forms of communication, such as gesture, to compensate for difficulties when singing and speaking”
(National Curriculum, 2009)
As communication is one of the most common difficulties all children with an Autistic Spectrum Disorder will have, being able to communicate in a way other than describing what they hear or feel will enable them to get across their answer without looking like they do not understand the question. Alternatives could be to draw symbols on a piece of paper for what comes to their mind or even something as simple as phrasing the question differently, usually in a broken down way when they are needed to elaborate on their answer. For example, when asking the student to describe what the music makes them feel can be hard enough for any child especially one with Autism so giving them a sheet with circles on for each section of the piece then asking them to describe the faces would make it quicker and easier for the student making it less likely for them to get frustrated at not being able to understand the question. It is important that the whole class is given this sheet so as not to isolate the child further.
3.3 Inclusion in the Music National Curriculum KS3 Programme of Study
One point which is made in the Music National Curriculum KS3 Programme of Study is that:
“Music education encourages active involvement in different forms of
music-making, both individual and communal, helping to develop a
sense of group identity and togetherness.”
(pg. 179)
When considering Autistic Spectrum Disorders, group work is an area which children with Autistic Spectrum Disorders would find more difficult than other non-Autistic children. Group work such as composing or creating a short performance when split into groups within the class can make the individual feel left out and isolated. A way to get around this issue is to have the whole class work as one group with the teacher directing it. That way it will be clear as to who is in charge and the teacher can monitor the situation diverting any possible misunderstanding as they arise.
Within section 1 Key Concepts, part 1 Integration of Practice,
“1.5 Communication
a) Exploring how thoughts, feelings, ideas and emotions can be expressed
through music.”
(page 181)
As mentioned before, being able to describe feelings and emotions can be exceptionally difficult for a child with an Autistic Spectrum Disorder therefore using the above suggestion with pre-existing sections of pieces already described i.e. alberti bass can make a tune feel fast and bouncy. Using a worksheet with these can help a class identify what the pieces make them feel and can help them to compose their own pieces.
“2.2 Reviewing and evaluating
c) communicate ideas and feelings about music, using expressive language
and musical vocabulary to justify their opinions”
(page 182)
Evaluating is one of the hardest areas for anyone with an Autistic Spectrum Disorder, doing all the hard work beforehand is exceptionally easier unlike those without an Autistic Spectrum Disorder where the evaluation is the little easy bit at the end in most cases. To make evaluating easier mini questions expanding on the evaluation’s main question will help a lot. Just using simple questions which may seem obvious to some will enable the child to evaluate because they themselves cannot see these ‘obvious’ questions.
3.4 Inclusion in Ofsted – “Making More of Music”
After reading Ofsted’s “Making More of Music” I have highlighted several areas which are either about inclusion or could cause issues with inclusion when considering Autistic Spectrum Disorders.
“85. Typically, in the good and outstanding lessons:
• the teaching had a clear musical learning focus
• teachers had high expectations: there was an emphasis on musical quality
and students were clear how to improve their work”
(pg.26)
Clarity is something which all children will benefit from; it also gives a clear structure for those with an Autistic Spectrum Disorder to work from especially since structure is a very essential part of life for these children.
“144. The most effective work seen engaged pupils’ musical intelligence through:
• playing music as pupils entered the classroom”
(pg.40)
This suggestion from Ofsted poses a few questions for me. I can see that it would get the children in the right mindset but doing this with a child who already does not know when the best time to talk is will only confuse them further even to the extent that they will enter the room in silence and will be highly unsure of what is going on. If this is to be done then the child must be informed beforehand and told that it is either alright to talk or that they have to be silent depending on what effect the teacher is going for by doing this. I personally feel that from my experience that it would be better if this was not done with a class which has an Autistic child in it.
“159. In the best work seen, pupils were helped to progress:
• from producing literal sounds, for example sound effects such as a creaking
door, to inventing more abstract sounds, for example describing an
atmosphere or image such as a winter scene.”
(pg.44)
“162. The best work seen in the secondary schools built on the three dimensions
described and helped students to progress:
• from inventing sound images to making musical use of structures to achieve
the intended outcome or effect”
(pg.45)
With both of these sections, creating imagery using only a sound will produce a very limited reply especially if the child is inventing their own. Giving a few suggestions would help but apart from that I am at loss as to how an Autistic child could fully participate in such a task unless it is done as group work.
“178. When pupils make musical progress, it is seen not only in their work but also in
their attitudes to and involvement in music. When inspectors judge pupils’
achievement and standards, they evaluate the following.
-Do they show understanding about how and why different kinds of music
are created? Do they engage positively with different kinds of music and
show respect for different musical traditions?
- Attitudes towards music lessons
Are they enjoying the work? Are they fully engaged? How do pupils arrive at
the start of the lesson? How many are late? How many want to talk about
the lesson after it ends?”
(pg.50)
Attitudes with children who have an Autistic Spectrum Disorder will vary. For example, if they are unable to understand or are being misunderstood then they can feel that there is very little they can do but disengage with the lesson and sulk. How clear a teacher makes a lesson will determine how much a child with Autism will participate and even whether they turn up on time or at all. Bad behaviour should not be ignored but at the same time the teacher should understand that maybe they could be doing more to make things clearer.
3.5 Inclusion in Musical Futures
Since Musical Futures has created workshops specifically for special needs many of their suggestions will already be inclusive.
“Keep students in their comfort zones during the first session/sessions
and gradually move them out, so that that they feel challenged but at
a level with which they are comfortable”
(page 49)
It is important that any child with Autism feels comfortable otherwise they would be unlikely to work. If the work is too easy then the child is likely to become disruptive, the same can be said for if the task is too difficult however, most children will like a challenge so this suggestion from Musical Futures can be easily applied to children with Autism.
“As with the earlier projects, it is recommended that group performances
are integrated regularly into the process.
At the start of each lesson, you may choose to remind students of the
task and of the ground rules, or alternatively to encourage students to
get on with the practical work.”
(Page 156)
Musical Futures suggests using 3 to 6 break off rooms for group work so that students are able to get on with their work. This and their previous suggestion of reminding the student of ground rules before they start can be used to make sure that all of the children have a fair chance to contribute to the final piece which would be exceptionally helpful to a child with an Autistic Spectrum Disorder as they may feel they are unable to speak up if they are being left out.
Summary
Several issues of inclusion have been raised. These being; communication, making sure the instructions and what is expected are clear, describing emotions both by listening to music and by composing music, group work, evaluation, creating imagery from music, general behaviour and social setting – what the best layout would be and what to avoid. Also making sure that all of the above is applied to the whole class to prevent further isolation.
Chapter 4 – Making Music Inclusive in the Secondary School
Introduction
In this final section there are four sections. These areas are; ‘in the classroom’, in performance’, with composition’ and ‘workshops’. I will firstly describe what I mean by each of these before using information from all previous sections to pick the most important areas of inclusion within music education at Key Stage 3 and place them into four main areas which will be used in the booklet created for music teachers at Key Stage 3.
4.1 In the Classroom
In the classroom is largely theoretical work where the child will be sitting down taking notes or filling in worksheets.
Making sure the task is clear and that everyone knows exactly what they need to do to get a good mark will help immensely. Also letting the child know the structure of the whole lesson helps them plan ahead and understand why certain tasks are being done.
Evaluating work will be hard so having a separate sheet with broken down questions will make it easier for the child to write what they think, no matter how simple the questions may seem. If there is a change in location for the class then it is best to let the whole class know beforehand so it does not upset the child when they arrive for class. The same if there is a drastic change in the way the room is organised or how you let the class in. when describing emotions or images by listening to music, give a sheet with symbols or blank smiley faces rather than getting the child to write will enable them to show what they feel or see when listening to the music. If they feel or see nothing then that is perfectly normal and in that case suggest a few things you feel or imagine to help.
4.2 In Performance
In performance is including the rehearsal and the performance itself.
When doing group work it would be best to set ground rules and go through a short version of the task firstly as a whole class with some suggestions to give the child a few ideas to start with and to make them more comfortable with the task. It may also enable the child to come up with a few original ideas which they may not have come up with before. Making sure everyone in the group has a set task would avoid any ‘who’s in charge’ issues which might make the child resilient to doing the work.
4.3 With Composition
With composition will be where the child will, individually or in a group, have to work on creating a piece.
Imagery and emotions within music can be really hard to describe normally without having to create something with these thoughts. Giving a sheet with several ideas will help as well as keeping the child within their comfort zone. Describing emotions and images will be a challenge enough without having a challenging task as well.
4.4 Workshops
By workshops I mean visiting musicians and classroom activities which are less of the taking notes type and more of the hands on style of working.
Changes like location and someone new working with the class should be told beforehand so that the child knows what is happening and is not made uncomfortable by not knowing what is going on and how to act. The child may not take to this person so having the option of opting out or telling the visitor that you may have to step in to make the situation more comfortable would help prevent any behaviour issues which may occur. If you are running the workshop then it is best to keep the child within their comfort zones but also not to make the task too simple.
4.5 General
Whatever is done for the child must also be done for the whole class so as not to isolate the child further.
If the child does misbehave do bear in mind this is the only way they can communicate when things get too much so while not letting them get away with it, do not punish them as much as you usually would.
Conclusion
Having gathered, read and summarised all my research I will now create a booklet which can be used by the teacher when teachings. This booklet will be included with this dissertation.
Overall, despite the many different documents for music education at Key Stage 3 they all stress some importance of inclusion and have their own ideas of how a class can be made more inclusive although some of these ideas would not be ideal for a child with an Autistic Spectrum Disorder.
Within Autistic Spectrum Disorders, there are several ways of classifying what disorders there are as well as what the features of these disorders are even in some cases with no clear line where one disorder becomes another. Despite this a child with an Autistic Spectrum Disorder will be diagnosed with only one of the above disorders. As many of the features of these disorders are very similar it is easier to create teaching strategies which cover all of the Autistic Spectrum.
Many of the coping strategies which have been listed in the final chapter can in fact be used across the whole curriculum of music education however; these strategies were listed only once and put where they would be most relevant to prevent information being unnecessarily repeated. The information from this chapter will be condensed and put into the appropriate chapters within the booklet enclosed along with a brief outline of the four types of Autistic Spectrum Disorders.
Finally, although the final booklet is created using the findings of this dissertation and is aimed at making music inclusive within the secondary school, because it is such a large area to cover, this particular dissertation focuses on Autistic Spectrum Disorders and any of the working strategies listed may not be suitable for another type of disorder.
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Hamlyn, Paul (2009) Musical Futures
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