Special needs in classroom music
Phoebe Osborne (DM London Associate) agrees with elements of Pro Corda’s approaches to SEND and music but longs for some music technology.
In this seminar Pro Corda focused on two approaches to accessing music for SEN/ Disabled (SEND) students in the classroom, which specifically address lack of confidence and notation: Dalcroze Eurhythmics and Improvisation. The Dalcroze Society website explains: ‘in Dalcroze Eurhythmics virtually every musical concept is taught and experienced through movement of all parts of the body. This is a very effective way to enhance musicianship as well as improving co-ordination, concentration and other skills needed to be a good performer.‘
Anita used the example of walking 4 steps and tapping your head 4 times to feel a sense of beat, which will establish a strong sense of pulse to later be applied to comprehending and making music. Another example is a short clip of a young person moving along a set of coloured mats. As the young person is walking along the mats, Anita is responding to the movements (which become sudden/slow/backwards with growing awareness) with cello improvisation e.g. with a sudden movement, a staccato note on the cello. The exercise can be extended by using colours to dictate certain movements e.g. when you land on a blue mat, you spin.
Perhaps due to the time limit or the specific participants Pro Corda work with, there was no mention of tailoring the exercises to the individual needs of the participants to ensure everyone has equal access. Despite this not being addressed, one can see how these activities and methods can be adapted to participants who face physically disabling barriers such as limited mobility or fine motor skills.
By taking any type of movement, regardless how small, and responding to it with sound, one can both encourage movement and develop strength whilst consolidating basic musical concepts. This interaction of sound and movement could also be developed by students in the class responding to other students’ movements, thus promoting peer exchanges and communication.
The second approach to SEND in the classroom (I was excited to hear) was through improvisation. I strongly believe that there is not enough emphasis placed on improvisation in school and instrumental lessons which in certain paths of music is much more relevant than reading music or technical ability. It also opens up avenues of communication and expression that are not always available through other methods.
The presenter stated that a short introduction to posture and hand position is sufficient before guiding them into improvisation on one or several pianos for a beginning session. Playing a certain phrase and encouraging the students to play the piano over the top in a similar style will enable the students to immediately access music, thus boosting their confidence.
This may be a quick and simple way to give access to music to some students with SEND however this assumes all students can access the same instrument. How do we as educators encourage young people to enjoy their creative exploration regardless of any personal barriers or predisposition to a particular instrument?
With the availability of a huge variety of traditional instruments – and the growth in assistive music technology such as Soundbeam, Skoog and ipads which offer bespoke musical participation – it seems somewhat old fashioned to be introducing several pianos as the answer to SEND in the classroom.
The presenter commented: “See it as a conveyor belt of sound – participants stepping onto it for the first time. If the student runs off course, steer them onto the right way.” This last statement flagged up several problems for me. Are we trying to encourage concert musicians or to provide our participants with modes of expression? In their first exploration of music do they need limitations, a clinical well defined right and wrong, or a well structured framework within which they can be free to make their own discoveries?
I agree with Pro Corda in that Dalcroze Eurythmics and Improvisation are extremely positive and effective approaches to music education for SEND in the classroom. However, in order to ensure participants have meaningful musical experiences and fulfill their full potential, activities must be tailored to each student’s needs using the technology and knowledge available, in an inclusive and creative way. This ensures exploration and expression are at the heart of the learning.
