NAfME collegiate student
band director. Some examples of strate- gies, according to Wayne Siligo (2005), a visually impaired music director, are braille music, memorization, recordings, and the use of peers as a resource. Soon, I plan to observe an ensemble that has a student who is blind. Accommodations from these studies and of my own creation will be implemented. At the end of the observations, surveys will be given to the visually-impaired student and a random selection of other students to determine the effectiveness and inclusiveness of the accommodations. These same students will also undergo a brief music assessment to see if their skills have improved and are close in abilities.
My goal to help bridge the gap between music education and special education has only just begun. I believe that one of the most effective ways to bridge this gap is to help spread awareness of it to encour- age that others do the same. Once again, I will ask the question: How can we as music educators and future music educa- tors bridge this gap?
References:
Valente, S. (2004). “Autism.” Journal of the American Psychiatric Nurses Association, 10(5), 236-243.
Pino, Angela, and Laia Viladot. “Teaching-Learning Resources and Supports in the Music Classroom: Key Aspects for the Inclusion of Visually Impaired Students.” British Journal of Visual Impairment, 37, no. 1 (January 2019): 17–28. doi:10.1177/0264619618795199.
Wayne, Roy Siligo. “Enriching the Ensemble Experience for Students With Visual Impairments.” Music Educators Journal, 91, no. 5 (2005): 31-36,
https://libproxy.uww.edu:9443/ login?url=
https://search.proquest.com/ docview/197182133?accountid=14791.
Selena Esquivel is a fifth year music education student at UW-Whitewater. She is currently fin- ishing up the classes for her special education minor before she student teaches in spring 2022. Email:
selena_esquivel99@yahoo.com
Wisconsin School Musician 17
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