Wendy Valerio, PhD
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Hello Dr. Valerio. Thank you for offering to participate in this pre-convention interview.
How did you first become involved with teaching music to children with autism?
Hello! It is my pleasure to give you a sneak peak into our session.
My former graduate student, Hannah Gruber (Assistant Professor of Keyboard, Crane School of Music, SUNY Potsdam), began working with Anthony, a 7-year-old boy with austism, while she was teaching Music Play classes the the Children’s Center at the University of South Carolina. Over the course of the next 4 years, Hannah, another former graduate student, Claire, and I developed music relationships with Anthony through our practice of Music Play (Valerio, Reynolds, Taggart, Bolton, & Gordon, 1998).
We hear of similarities between teaching children with learning deficiencies, and teaching early childhood music classes. What are some of the similarities that you see?
First, we know that each child in your classroom has the potential to learn music; however, no two children have exactly the same potential or the same ways of expressing their musicianship. Children with learning deficiencies may have a lot of music learning potential. It is our job to help them realize that potential. Second, we view music development for all children as a socially-interactive process that involves creating a variety of music contexts in which children can babble, approximate, imitate, improvise, and communicate. That means we enjoy singing songs and performing rhythm chants for children and inviting them to participate in music conversations. Those music conversations are the first forms of music achievement. They are a part of music acquisition and are the foundation for independent forma. music learning. Third, the use of silence in a music class should not be underrated. We find that by listening to children’s music responses, sharing their music attention, and leaving silence for them to think and respond, we are able to scaffold their music vocabulary development.
What are some differences that you have observed?
The biggest difference we have observed is determining how to pace a sequence of music activities for a group of children of many different learning abilities and how to pace an individual session. For example, Anthony has a complex, mixed-sensory profile, meaning that his arousal/engagement state can change rapidly. He responds differently in group and individual sessions. We had to learn to “read” his arousal states abilities to interpret his cues and adapt our activities to engage him in reciprocal music communication.
Thank you for your time, Dr. Valerio. One final question…
What advice would you give for those who are preparing, for the first time, to teach children with these types of special needs?
Thank you for this opportunity!
From my Music Learning Theory (Gordon, 2007; 2003) perspective, I advise persons who are preparing to work children with and without special needs to learn several songs and rhythm chants, some with words, and some without words. Learn a vocabulary of tonal patterns and rhythm patterns that are related to the songs and rhythm chants, respectively. As you perform songs and rhythm chants, move with flow and pulsations rather than worrying about keeping a steady beat. Rather than thinking of yourself as a music teacher, think of yourself as a music development specialist. Use the songs and rhythm chants to create music contexts by performing them with fun, developmentally appropriate movements. Invite children to participate with you, but do not try to “teach” them songs, rhythm chants, tonal patterns, rhythm patterns or movements. Keep things playful! If you can, have another adult or child help you playfully demonstrate how to imitate tonal patterns, rhythm patterns and movements. Perhaps more importantly, have them help you playfully demonstrate how to be different from each other as you create/improvise tonal patterns, rhythm patterns, and movements. As you model imitation and creativity/improvisation, do not expect perfection. Allow children the opportunity to babble, approximate, and learn to take-turns using music and movement without having to worry about being right or wrong. Allow for silence in your music and movement activities. Use any sound or movement a child makes as a springboard for music and movement interaction. Keep your sessions spontaneous. Allow yourself and your students to play with music and movement. As the music development specialist you will be creating music contexts for and with your students. By listening to your students and using their sounds and movements for music interaction, you will be guiding them to their individual levels of music achievement.
Submitted by Rick D. Townsend, PhD
ECMMA Managing Director
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