Teaching Instrumental Music To People With Autism

READ AND SUMMARISE INFORMATION FROM AT LEAST TWO DOCUMENTS ABOUT THE SAME SUBJECT

I have chosen to research the subject of teaching instrumental music to people with autism. I work as a learning and behaviour support assistant at Chelfham Senior School, a private special needs school for students who are socially and emotionally vulnerable, with complex learning difficulties including autism. The students are predominantly teenagers who enjoy listening to music, singing and dancing, and in the past have responded to music therapy sessions. They have not, however, had access to on-going instrumental tuition, nor a regular medium in which to perform. In the past year I have delivered a number of music based workshops, given individual instrumental tuition and organised a school band to perform each week in assembly and at school functions. This has been quite successful, but there have been many difficulties along the way, so I chose to do this research in order to compare other people`s experiences with my own. I also want to look for a way ahead for the next school year, so that the progress can be sustained, and perhaps music can become an accepted part of the school curriculum.

The first document comes from the website www.autism.about.com and is a response to a letter from an instrumental teacher asking for advice and tips on teaching an autistic pupil. This is a summary of the response the teacher received from someone associated with the website:

`Music is an area of special interest for many people with autism, and music therapy is a popular intervention for children and adults with autism, although few if any music instructors have any training in working with people on the autism spectrum. As a result, while children with autism are encouraged to interact with music, it can be difficult to find an instructor willing and able to actually teach them to play or sing, particularly for a teen or adult with autism. Not only does musical tuition build cognitive and physical abilities, it`s also a source of personal pleasure. In addition, singing or playing in a musical ensemble can build social and communication skills, self-confidence, friendships and the respect of self and others. The successful teacher will use a combination of different teaching tools, and will need a lot of patience, a sense of humour, and a good deal of flexibility. Techniques that are particularly effective include using a mix of multisensory teaching techniques such as tapping or clapping rhythms and visual aids or movement/dance for note values. Many kids with autism play by ear, so have them repeat musical phrases without worrying about which note they are playing. Choosing pieces based on an existing interest is a great way to go, such as music from a favourite film or TV series. Kids with autism may have significant talent and little or no stage fright, though it`s important to practice not only the music but also the process of reading the program, coming up on stage, playing a piece. And then leaving the stage appropriately.`

The second document comes from the website www.musicspeaksautism.org and explains the Music Speaks Autism program. This is supported by some additional research to clarify some of the techniques and systems used:

The home page of the site explains that `concepts from ABA (Applied Behaviour Analysis), TEACCH (Treatment and Education of Autistic and related Communication-Handicapped CHildren), DIRFloortime Model and Music Therapy are blended together with Dr. Suzuki`s `learn with joy` philosophy to create the Music Speaks Autism program.` It is an individually tailored program that offers a mixture of private and group lessons, or exclusively private depending on what suit`s the student. They share the Suzuki philosophy that `every child can learn`, and in addition to learning the violin, they also `learn and practice basic life skills essential to functioning in our society..(The lessons) facilitate positive social interaction ...and encourage appropriate behaviours. Violin instruction also strengthens some of the fine and gross motor skills needed to complete daily living tasks. Finally, pr-academic aptitude such as colour, number and letter recognition are often taught and reinforced through lessons and daily practice.` The lesson plan emphasises the interests and strengths of the student, and the rigid structure of the lessons helps autistic children to focus on the music, rather than on what might happen next. It will take time for the child to adjust to the new routine and progress may be very slow, but `often autistic children will advance in great leaps due to their unusual ability to focus on a subject of interest.`

ABA (Applied Behaviour Analysis) - Uses behavioural learning theory to modify behaviours, focussing on the observable relationship of behaviour to the environment. The methods of ABA can be used to change that behaviour.

TEACCH (Treatment and Education of Autistic and related Communication-Handicapped CHildren) - A TEACCH classroom is structured, with separate, defined areas for each task, such as individual work, group activities and play. It relies heavily on visual learning, a strength for many children with autism. The children use schedules made up of pictures and/or words to order their day and to help them move smoothly between activities. In addition, PECS (Picture Exchange Communication System) is used structure each lesson.

DIRFloortime Model provides a framework to understand the functional emotional development and unique profile of every child and a guide to create emotionally meaningful learning interactions that promote critical functional emotional development capacities.

Suzuki Philosophy - The central belief of Suzuki, based on his language acquisition theories, is that all children can (and will) learn from their environment. The essential components that create the `right environment` for learning music include: Saturation in the musical community, attending concerts, exposure to other music students, listening to high calibre musicians, listening at home every day (starting from birth if possible) Deliberate avoidance of musical aptitude tests or auditions to begin music study. Emphasis on playing from a very young age. Using well-trained teachers with a basic competency as a performer. In the beginning, learning by ear is emphasized over reading musical notation. This follows Suzuki`s observation that in language acquisition, a child learns to speak before learning to read. Encourages regular playing in groups in addition to individual playing. Retaining and reviewing every piece of music ever learned on a regular basis, in order to raise technical and musical ability. Frequent public performance, so that performing is natural and enjoyable.

The method discourages competitive attitudes between players, and advocates collaboration and mutual encouragement for those of every ability and level.

From my own experiences last year I can relate very closely to the requirements for huge amounts of patience and flexibility. It`s best not to have expectations for a particular lesson or rehearsal because anything can happen, and it usually does! The students, however, nearly always come back another day and try again, so don`t give up! Allowing them to choose familiar pieces or their own compositions, and showing them how (by ear or by sight) certainly is the way to go. I have derived immense pleasure from seeing students make genuine efforts (sometimes excruciatingly difficult for them) to cooperate and respect peers preferences and points of view. The development of their ability to communicate with myself or each other during a performance, and to form musical partnerships with people they struggle to get along with, has been a revelation. In addition, as they have become more used to performing, it is now a natural and enjoyable experience rather than a nerve-racking one. As the school itself is a special needs school, there is already significant emphasis on behaviour therapy and TEACCH methods, and all the students have their own individual education plans (IEP`s) and care plans. Having read the `Suzuki` notes above I made an effort to ensure that the band were able to rehearse and perform each week, often repeating a song, but with improvements such as additional instrumentation. This, along with tighter control on the number of students involved, and giving them clearly defined roles, has led to improved performances. I also invited other members of staff who can play or sing well to become involved in performance and rehearsal. This has inspired everyone, whether playing or listening, and their support in tightening up the rehearsals has been invaluable. I have remained approachable to any student who has some spare time and wishes to practice or improve, and have kept the band open to anyone who wishes to participate, regardless of ability, providing they show genuine commitment. I have also delayed a plan to introduce a grade exam project. Aspects that I could improve on are to incorporate more multi-sensory techniques, use visual aids and TEACCH methods, and have greater support to ensure appropriate behaviours are maintained. These improvements are more likely to be achieved if music tuition and practice were part of the planned curriculum timetable.