Inclusion in Music Education
(Should reflect your topic)
Running Head: INCLUSION IN MUSIC EDUCATION
Inclusion in Music Education: Literature Review
Kaplan University
Allyson Moore
ED512 Action Research
February 23, 2009
Inclusion in Music Education
(Should reflect your topic)
Introduction
The educational practice called inclusion has brought increasing numbers of
children with disabilities into the music classroom, many times without the teacher being
informed of the unique needs of the students. These students include those with behavior
issues and hearing impairments. Music teachers have to be highly qualified under the No
Child Left Behind act and therefore must be prepared to successfully teach these (define
these) students (de l’Etoile, 2005).
This review seeks to examine literature that gives the general music teacher
information about students with behavior issues as well as students who are deaf or
hearing impaired.
Behavioral Issues
Children with behavior disorders such as Attention Deficit/Hyperactivity
Disorder (ADHD) have difficulty paying attention. They are likely to show signs of
inattention, hyperactivity and impulsivity. They may look dreamy and appear not to listen
to directions. Hyperactivity is evident in a child who may exhibit physical activity at a
rate and intensity that is much higher than expected for their age. Impulsive behavior
manifefests when children act without thinking. They have difficulty in waiting their turn
and doing things without permission (de l’Etoile 2005). Good description!
A music teacher may feel exhausted and overwhelmed when faced with students
with ADD such as these during their music time. These children appear to have difficulty
maintaining an optimal level of stimulation. They have a higher need for stimulation than
students without behavior issues. Their inattentive, impulsive and hyperactive behavior is
Inclusion in Music Education
(Should reflect your topic)
merely an attempt to obtain additional amounts of stimulation. Such behaviors are most
likely to occur during tasks requiring prolonged attention and concentration and that
students find monotonous (de l’Etoile 2005).
When a music teacher is faced with the challenge of teaching these students in a
music setting, it can be overwhelming because the teacher constantly has to maintain
proper order. According to de-l’Etoile (2005), there are ways that music teachers can
provide stimulation by providing (building) regular physical movement into musical
experiences or allowing brief breaks for physical activity. Providing such activities can
provide a temporary increase in stimulation and may help children perform more
efficiently for the rest of the class period.
There are several additional strategies that a music teacher can provide to insure
that the children with behavior issues are successful within the music classroom. These
include being consistent, acknowledging good behavior and correcting students when
they misbehave (Hart, 2003).
Working with children, who have behavior disorders, can be challenging and
rewarding. Teachers who understand the origins of problem behaviors will be better
equipped to address and prevent them. Music teachers can obtain assistance in this
endeavor from other teachers, parents, school administrators and school psychologists.
As this is a lit review, do you have a reference for this? As students acquire the skills to
control their behavior, they will more likely be able to learn music, a worthwhile goal for
all teachers and students.
Hearing Impairments Italicize
Inclusion in Music Education
(Should reflect your topic)
Hearing disabled students may be defined as deaf or hard of hearing. An
individual classified as deaf is one whose hearing loss is so great that speech cannot be
understood through the ears alone, even with a hearing aid. A person described as hard of
hearing has a significant hearing loss requiring some special adaptations, but can
understand speech through auditory processes (Heward, 2001).
Students with impaired hearing have found success in school music programs for
over 100 years. Students who are deaf and/or hard of hearing continue to be part of music
programs in today’s schools (Hash. 2003). However, some music teachers are reluctant to
teach students because they lack the familiarity with musical capabilities of deaf learners,
or they fear these musicians may negatively affect performance quality (Sheldon, 1997).
Great information!
In terms of specific musical abilities, those with hearing impairments are capable
of performing in a general music setting. They can maintain steady beat, sometimes
better than hearing students. They are, however, less successful in reproducing rhythmic
patterns with adequate modifications and can make significant improvement (Darrow,
1989).
One of the most recognized benefits of music instruction for students who are
hearing impaired is the acquisition of language (Atterbury, 1990). Properties of music
such as rhythm, accents, tempo, and repetition organize and direct behavior toward
educational goals by supporting the structure of language. In addition, music can provide
motivation for positive behavior, serve as academic support for reading and writing, and
become a means for developing positive self-image. Children can also improve body
Inclusion in Music Education
(Should reflect your topic)
coordination through rhythmic movement and develop social skills by interacting with
hearing students during music participation (Darrow & Schunk, 1996).
Many hearing impaired people value music experience for its own sake (Darrow,
1989). Music objectives for hearing impaired students should go beyond social benefits
to include learning about rhythm, harmony, melody, form and expression. In addition,
music of various cultures and masterworks from as many genres as possible should
remain an important part of the curriculum. These aims are best met through the visual,
tactile and movement aspects of instrumental study rather than singing or music listening
(Darrow & Gfeller, 1991). More good information!
Creating an environment to allow hearing impaired students to be successful in
the music classroom is essential. Students may act out if they are unable to hear or
understand the teacher’s instructions (Zinar, 1987). The best prevention for these
behaviors is to insure surroundings and teaching practices take into account the special
needs of these students. Instructional practices should be modified when working with
hearing impaired musicians. The teacher, when talking, should always face the student,
stand in one place and speak slowly. Using an overhead will allow the teacher to give
written instructions instead of turning away from the student (Darrow & Schunk, 1996).
Teachers should not be afraid to use gestures, predetermined signals, or visual
aids when communicating with hearing impaired students, as they are usually accustomed
to a variety of communication strategies (Atterbury, 1990). Some hearing impaired
students may nod or smile to indicate understanding of instructions even when they do
not grasp the material. Therefore, ongoing assessments are needed to insure progress.
Music performance and music composition can be utilized to demonstrate pupil is
Inclusion in Music Education
(Should reflect your topic)
understanding of rhythm and notation. Students’ comprehension of phrase contour,
dynamic intensity can also be determined through hand gestures and body movements
(Zinar, 1987).
Conclusion
Music is a multi-sensory experience and should be enjoyed by those who can hear
as well as those who cannot. Teaching students with hearing impairments can be a highly
rewarding and valuable experience for the student and the teacher.
All children can be helped to learn to enjoy and to become involved in music to
some extent. Music can be a great value for children who have behavior issues or
difficulties in hearing. A single instrument can possess qualities of sound and tone
irresistible enough to reach a child in a direct uncomplicated manner. Music contributes
to reasoning ability, reading skills, personal fulfillment, language development,
promotion of communication and positive attitudes towards school. This is better earlier
in your paper.
Inclusion in Music Education
(Should reflect your topic)
References
Atterbury, B. W. (1990). Mainstreaming exceptional learners in music. Englewood
Cliffs, NJ: Prentice Hall.
Darrow, A. A. (1989). Music for the hearing impaired. Update: Applications of Research
in Music Education
Darrow, A. A., & Gfeller, K. (1991). A study of public school music programs
mainstreaming hearing impaired students. Journal of Music Therapy. Volume and
number??
Darrow, A. A., & Schunk, H. A. (1996). Music therapy for learners who are deaf/hard of
hearing. Models of music therapy: interventions in school settings: from
institution to inclusion. Silver Springs, MD: National Association for Music
Therapy.
de l’Etoile, S.K. (2005).Teaching music to special learners: Children with disruptive
behavior disorders. Music Educators Journal, May 2005, Vol.91 Issue 5. See
APA for volume and issue numbers
Hart, D. J. (2003). How teaching music has taught me how children think and learn.
Retrieved on February 22, 2009 from www.eslteachersboard.com.
Hash, P. M. (2003) Teaching music to deaf and hard of hearing students. Research and
Issues in Music Education, Vol. 1. See how to reference journals.
Heward, W.L. (2001). Exceptional children: An introduction to special education (6th
ed.). Upper Saddle River, NJ: Prentice Hall.
Inclusion in Music Education
(Should reflect your topic)
Zinar, R. (1987). Music activities for special children. West Nyack, NY: Parker.
Scoring
Criteria/
Course
Level
Assessment
Criteria
Course
Level
Assessment
(CLA)
Criterion
(Course
Outcome
#1)
Synthesize
published
research on
identified
topic/issue
into written
literature
review.
Literature Review Assignment Rubric
Mastery
Proficient
Practiced
Level
Level
Level
Emergent
Level
Introductory
Level
3
2
1
No Progress
0
5
4
At all times,
developed an:
Consistently
developed a:
Usually
developed an:
Inconsistently
developed an:
Rarely
developed an:
Failed to
developed an
 excellently
written
literature
review
 well written
literature
review
 acceptably
written
literature
review
 acceptably
written
literature
review
 acceptably
written
literature
review
 acceptably
written literature
review
 well written
synthesis of
published
research
 well written
synthesis of
published
research
 well written
synthesis of
published
research
 on as
acceptable
specific
issue/topic
 on as
acceptable
specific
issue/topic
 on as
acceptable
specific
issue/topic
 that
demonstrat
es
adequate
thought
 that
demonstrat
es
adequate
thought
 that
demonstrat
es
adequate
thought
 adequate
understandi
ng of
current
literature
 adequate
understandi
ng of
current
literature
 adequate
understandi
ng of
current
literature
 selection of
at least six
relevant
appropriate
peer
reviewed
research
articles
 selection of
at least six
relevant
appropriate
peer
reviewed
research
articles

 selection of
at least six
relevant
appropriate
peer
reviewed
research
articles
 mostly
accurate
interpretatio
 inaccurate
interpretatio
n of facts
 sophisticated
synthesis of
published
research
 on a well
chosen
specific
issue/topic
 that
demonstrate
s critical
thinking
 insightful
synthesis of
published
research
 on a well
chosen
specific
issue/topic
 that
demonstrates
critical
thinking
 outstanding
understandin
g of current
literature
 solid
understandin
g of current
literature
 selection of
at least
seven
outstanding
peer
reviewed
research
articles
 selection of
at least
seven
excellent
peer
reviewed
research
articles
 insightful
and accurate
interpretation
of facts.
 sophisticated,
accurate
interpretation
of facts.
 accurate
interpretatio
n of facts.
 well written
synthesis of
published
research
 on as
acceptable
specific
issue/topic
 that
demonstrates
adequate
thought
 adequate
understanding
of current
literature
 selection of at
least six
relevant
appropriate peer
reviewed
research articles
 misinterpretation
of facts
0 POINTS
Earned
Points
and
CLA Score
CLA Score
(outcome #1):
_5_/5
Inclusion in Music Education
(Should reflect your topic)
n of facts.
237-213
POINTS
250 POINTS
250-238
POINTS
Writing
Mechanics
and
Timeliness
Assignment is
free of
spelling,
grammar, or
punctuation
errors.
Citations and
reference list
are properly
formatted in
APA style.
Assignment
has very few, if
any, spelling,
grammar,
punctuation
errors.
Citations and
reference list
are properly
formatted in
APA style.
POINTS:
245
212-188
POINTS
211-163
POINTS
162- 125
POINTS
Assignment
has some
spelling,
grammar,
punctuation
and APA
errors.
Assignment
has several
spelling,
grammar,
punctuation
and APA
errors.
Assignment
has many
spelling,
grammar,
punctuation
and APA
errors.
Fails to use
appropriate
mechanics and
APA.
No CLA
28-26 POINTS
30 POINTS
0 POINTS
30-29 POINTS
Timeliness
Submitted on
time.
20 POINTS
20-19 POINTS
Submitted 1-2
days late.
25-23
POINTS
Submitted 3-5
days late.
22-20
POINTS
Submitted 6-7
days late.
19-15
POINTS
Submitted 8-10 Submitted more
days late.
than10 days late.
18-17 POINTS
Instructor Summative Comments:
POINTS:
25/30
No CLA
0 POINTS
16-15
POINTS
14-13
POINTS
12-10
POINTS
POINTS:
20/20
Total Points:
290_/300