There needs to be a balance. Specific praise offered within a system that includes the previous three interventions is a powerful and empowering experience. Students know they have worked well and to the best of their ability. They are also aware that you are aware of their efforts. “Catch them being good” is the old adage. It is not only applicable but also an achievable goal in our music classrooms.

Many students who are less affected by their disabilities respond well to this quiet and specific reminder regarding the rules (Cotton, 2000). This honors the student, respects the place this student holds within the classroom environment, and allows instruction to continue without time spent redirecting the student during class time. If the quiet attempts to redirect the student are not successful, the teacher may then choose to create a more specific behavior plan (Shellard & Protheroe, 2000). This method is often successful and can also improve the relationship between student and teacher as respectful and student-centered strategies are put in place.

In environments of mutual respect, students are more likely to create rules that are simple and easy to understand. Music educators should regularly review the rules (or have student leaders review the rules) and communicate their willingness to apply consequences when necessary. This includes a consistent application of consequences when rules are not followed. When students are aware that the application of behavioral consequences is consistent and fair (remembering that fair does not mean equal), they know they are in a classroom where their behavioral efforts are honored.

If peer support is not effective, it may be beneficial to place the student near you (the music teacher). It is also helpful for the music educator to be aware of the student-to-teacher ratio in classrooms and ensembles and to advocate for additional adult assistance when necessary.

When the art teacher went to take the things away at the end of class, he started growling and his anxiety escalated, so while our art teacher was with the other students, I took him into the hallway subtly. He was upset because he was going to have the materials taken away from him, so I eased his mind by letting him borrow another piece of paper and a pencil to take home, which was the same size as the wooden dowel. I showed him that the pencil and wooden dowel would make the same shape when traced. He agreed and then started drumming with his pencil and dowel and would not let me take them away.

This opportunity may also allow music educators to learn techniques from the current paraprofessional working with the student with differences and disabilities that may be useful in the music classroom.

It will become clear how a student communicates, processes information, and uses successful adaptations, as well as how their unique personality traits affect them in the learning environment.

However, practicing music educators are encouraged to utilize the observation protocols and other strategies to obtain on-the-job and authentic experience through self-imposed observation, and discussion within the special education framework.