Hammel and Hourigan Reading
Hammel and Hourigan Reading
3. What are the six principles of IDEA and how does each apply in the music classroom?The first principle of IDEA is known as Zero Reject. This states that a student can’t be excluded from a classroom because he/she has a disability. Even in the case of a music classroom, students with disabilities can’t be excluded from a music class. The second principle is called Non-discriminatory Evaluation. This process involves several professionals who evaluate and observe a student. They uses this assessment to determine the appropriate provisions, accommodation, educational settings, and services for that student. As a music teacher you should discuss any concerns you have the general teacher for a student with disabilities. The third provision is Free and Appropriate Education. This is the part of the process where they determine the education placement for the student. They create an IEP (Individualized Education Program). As a music teacher it is our job to study all the students with special needs who will be in our classrooms. The fourth provision is called the LRE (Least Restrictive Environment). This states that students with disabilities will be included the maximum amount possible in a classroom with students who aren’t disabled. This can include music classrooms. Teachers can create lesson plans are inclusive for students with disabilities. The last two provisions are Due Process and Parental Involvement. If a parent doesn’t agree with where their child was placed they can request a change of placement, services, or teacher.
4.Describe “least restrictive environment” and state how this may be achieved in the music classroom (at least three examples).Least Restrictive Environment means that students with disabilities will be educated with students without disabilities to the greatest extent that is appropriate. In a music classroom this can be creating a lesson plan that makes it easier for a student to engage with the rest of the class. For example, in a general music class that might be using a simpler song to sing, so that a student with a disability is able to sings, and even creating some kind of movement that every student can do. In a band setting it could be writing a part along with the piece, so the student with a disability can play along, or giving them an easier part you know they’ll be able to play. Another example might be pairing them with a student without a disability who helps guide them through the lesson. This might make them feel more included if it was a student helping them rather than a teacher.
5. How would you respond to a teacher who wants to keep a student from attending your class to take part in remediation to meet AYP under NCLB? What data demonstrating the effectiveness and applicability of your instruction would you be able to cite?If another teacher wanted to keep a student from attending my class I would tell them how important music can be in both academic and other areas of a students education. I would explain how it is more important that a student have a well-rounded education, then to just learn specific subjects they need for a test. It would use data from this book, as well as other research to demonstrate the importance of music to education.
6.What are some ways you, as the music teacher, could participate as part of the RTI system at your school? As teacher I could monitor students in my classroom for early intervention. I can observe behavior in students that might hint at some sort of learning disability. By learning earlier, I can modify curriculum for students on what the research-based screenings show. I could also work with other teachers, or instructors, to provide the best instruction for all students.
7. What are the advantages or disadvantages of fieldwork in a special needs setting?By completing fieldwork in a special needs setting instructors are able to see different approaches to teaching that are more inclusive. By observing a classroom with special needs future teachers are able to work with paraprofessionals to learn more about techniques they can use in a musical classroom. Professionals can help music educators by explaining some language or content to implement the classroom to make it easier for students with disabilities to understand. However, depending on the type of classroom you are placed in you might not get a full picture of classes with various students with disabilities.
8. Discuss the steps mentioned in this chapter and how you plan to implement each step in your future fieldwork.I think it would be beneficial in my fieldwork if I could observe students with disabilities in a classroom setting. I would then meet with their paraprofessionals and teachers to learn more about each individual, especially if they’re going to be in my classroom. This chapter mentions different settings that educators can observe, so they can become more prepared for working with students with special disabilities. There are both inclusive and self-contained classrooms, as well as opportunities to observe music therapists. I will use the student’s IEP and other information I have to plan instruction that ensures they get the most out of each lesson.
9. Discuss your experiences (if you have had them) in each type of special education environment. I have had the opportunity to observe both an inclusive and self-contained classroom setting. What I liked about the inclusive classroom is that the teacher provided opportunities for the student with disabilities to participate just like everyone else. The instructor also paired her up with someone in the class, so they helped her through all the activities the class was going through. I also had the chance to observe 2 self-inclusive general music classes. I was surprised because they each only lasted 15 minutes. However, the lesson plan was pretty much the same every week so the students were able to get into a routine. They had a song that started every class, so the students would know they were in music class. The teacher went up to each student and interacted with him or her, so they would get that personal connection. The teacher used visuals as alternatives to speaking, and the students seemed to respond to that better. The instructor would also communicate with paraprofessionals so she would know how to treat each of the students on a day-to-day basis.
10. Pose 3 questions informed by your reading that you could ask Dr. Hammel and/or the class to encourage discussion
Hammel, A. M., & Hourigan, R. M. (2011). Chapter 3: Preparing to teach fieldwork and engagement opportunities in special education for pre-service and in-service music educators. In Teaching music to students with special needs: A label-free approach (pp. 45-57). New York: Oxford University Press.
Leave a Reply.
I will share reflective essays, and philosophical documents on this page.