University Students’ Perceptions of an Inclusive Music Production

Abstract

A total of 130 undergraduate and graduate music education and music therapy students watched a videotape of elementary children with cerebral palsy (CP) and typical peers preparing and performing in a musical production. The focus of the video was on preparation for inclusion, inclusive interactions, and the performance. Four questions addressing inclusion that required written responses from participants were posed. Responses were categorized for comparisons. Results indicated no significant difference due to training (music therapy majors, music education majors with and without class discussions on inclusion; p > .05). All groups focused on social more than academic benefits for all children. Participants noted the following: benefit of being in a musical play for the children with CP, that children without CP benefited from exposure to information about the disability, that children with CP gained from interacting with typical peers and from making a new friend, and many of the techniques teachers used to prepare students for successful inclusion. More than a third were concerned that their future students would not accept children with disabilities in the classroom or that children with disabilities would be incapable. There is an apparent inability to make the transfer of using the identified teaching techniques to enable their own future efforts at inclusion to be successful.

Performing disability in music teacher education: Moving beyond inclusion through expanded professionalism

“…Therefore, there is a need to reconsider what kinds of underlying belief- and value-systems guide music teacher education, and an ethical imperative to develop more meaningful and efficient ways of engaging with matters of exclusion and inclusion in music teacher education (Mills & Ballantyne, 2010). Indeed, it has been argued that music teacher education should move beyond inclusiveness, as it is understood in terms of improving teachers’ attitudes and tolerance towards students with special needs (Cassidy & Colwell, 2012), to become more politically engaged and anti-ableist (Dobbs, 2012).…”

Simulating disabilities as a tool for altering individual perceptions of working with children with special needs

“…Researchers have examined the attitudes of in-service and pre-service teachers and strategies for altering these attitudes in regular education settings (Avramidus, Bayliss, & Burden, 2000; Cook, 2001; Shippen, Crites, & Houchins, 2005) and in music settings (Darrow, 1999; Wilson & McCrary, 1996). In an effort to positively impact the attitudes of educators or therapists, researchers have looked at the role of increasing knowledge about disabilities (Burke & Sutherland, 2004; Colwell, 1999), watching videos promoting positive images of people with disabilities (Cassidy & Colwell, 2011; Eichinger, Rizzo, & Sirotnik, 1992), engaging in field-based experiences (Buck, 1992; Hourigan, 2009; Wall, 2002), completing virtual reality simulation modules (Pivik, McComas, MacFarlane, & LaFlamme, 2002) or participating in live disability simulations (Behler, 1993; Colwell, 2003; Eiring, 1996; Grayson & Marini, 1996; Scullion, 1996).…”

Instrumental Opportunities: Music for All

“…In a study conducted by Jellison and Flowers (1999), children with disabilities not only expressed interest in playing musical instruments but also reported playing traditional band or orchestral instruments less frequently than peers without disabilities. Some preservice music therapists and music educators perceived adapting instruments for children with disabilities as a challenge and also expressed concern that students with disabilities would not be accepted by peers or capable of participating (Cassidy & Colwell, 2012). Similarly, inservice music teachers indicated not feeling competent in their ability to adapt instruction for students with special needs (McCord & Watts, 2010).…”