can combine structured routines with sung directions of previously learned and familiar songs, a child with autism may have greater potential for success in classroom activities.


Suggestions for Teaching Practice Advocating for Your Music Classroom


The reality of many current elementary schools is that children with autism are often mainstreamed into general education music classrooms. When working with children with autism, I would recommend strongly advocating for a self-contained music classroom, or a classroom that only includes children with autism. In my thesis research study, “Perceptions of Teacher and Speech Language Pathologist Regarding the Use of Edwin Gordon’s Music Learning Theory with Children with Autism,” I have personally observed that such an environment is more conducive to music Learning for children with autism. By allowing children with autism to have a self-contained music classroom, I believe the music educator is better able to offer differentiated instruction to meet each individual child’


s specific educational


needs, which in turn is likely to help each child more fully develop in their music learning and exploration. In my own experience, depending on the severity of the specific diagnosis on the autistic spectrum, often there is higher potential for meltdowns and frustration on the part of the student when children with autism are mainstreamed into a general music classroom. We often naturally tailor music instruction to the general education population and don’t take into consideration the specific educational and musical needs of children with autism, or any special needs student for that matter. In addition, large group settings are often overwhelming for children with autism, and do not provide an optimal environment for individualized instruction. Teaching students with autism in a self-contained setting can help alleviate these issues.


Pure Music-Making


In my thesis work and field experience, I have come to realize that in working with children with autism in both self- contained and mainstreamed elementary music classrooms, it is best to use as little


spoken language as possible and instead provide this population of students with many and varied experiences in “pure music-making” activities. “Pure music- making” involves things such as minimal verbal communication, songs without words, movement, tonal and rhythmic pattern exploration, and improvisation activities. Without the hindrance of spoken language, which is often a challenge for children with autism, such children are able to “communicate musically” through tone and rhythm, in ways that are truly remarkable and often equal or surpass those of their general education classmates. Since research and popular opinion suggest that children with autism often have remarkable musical gifts and respond positively to tone in combination with verbal directions, I would recommend speaking as little as possible to this population of learner in the elementary general music classroom, instead focusing on non-verbal communication and the pure music-making mediums of tone and rhythm. I have observed that if a music educator is focused on creating a playful music environment that is Primarily focused on reciprocal music communication between teacher and student, children with autism respond with a heightened engagement to such instruction, which in turn seems to encourage a deeper level of overall enjoyment in the elementary music classroom.


Conclusions


The task of educating a child with autism in the elementary general music classroom can be daunting, even for the most seasoned music educator. However, we can also find hope in the knowledge that children with autism often come into our classrooms with remarkable musical ability. If, as music educators, we take the time and effort necessary to educate ourselves about how to best awaken musical ability in this population of learners, we will not only provide children with autism a successful experience in the classroom but will be inspired by how these children musically respond to our instruction. If as music educators we are truly concerned with providing all the children who come through our doors with a rich and successful experience in the music classroom, can any of us afford not to make this goal a high priority in the classroom?


References


Applebaum, E., Egel, A., Koegel, R., & Imhof, B. (1979). Measuring musical abilities of autistic children. Journal of Autism and Developmental Disorders, 9(3), 279-285.


Aldrige, D., Kern, P., & Wakeford, L. (2007). Improving the performance of a young child with autism during self-care tasks using embedded song interventions: A case study. Musical Therapy Perspectives, 25(1), 43-51.


Charles, T. (2010). Impact of incorporating music and movement into the teaching strategies of students with special needs. M.S.E. dissertation, Southwest Minnesota State University, United States-- Minnesota. Retrieved October 9, 2010, from Dissertations & Theses: A&I. (Publication No. AAT 1485194).


Hourigan, A., & Hourigan R. (2009). Teaching music to children with autism: understandings and perspectives. Music Educators Journal, 96 (1), 40-45.


Piaget, J. (1971) Biology and knowledge. Chicago, University of Chicago Press.


Thaut, M. (1988). Measuring musical responsiveness in autistic children: A comparative analysis of improvised musical tone sequences of autistic, normal and mentally retarded individuals. Journal of Autism and Developmental Disorders, 18(4), 561-571


Elizabeth Crabtree is a graduate of The University of Michigan, currently an elementary music teacher for Farmington and Pinckney Community Schools, and is currently finishing her thesis work for her Masters of Music Education, at the University of Michigan. She would be happy to answer any questions about her thesis work or about working with children with autism in the elementary music classroom. She can be reached at ecrabtree@pcs.k12.mi.us or elizabeth.crabtree@farmington.k12.m i.us.


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