Because a student’s self-worth is a critical part of this identity, particular attention needs to be paid to those who are challenged, and how the student and the rest of the class perceive those challenges.
This is such an important topic because of how impactful it is on students and their mental health. I wonder how music teachers can correct without isolating or giving a negative impression?
“As humans we want to care and be cared for”
I like how caring and ethics is being combined here because they should be when dealing with humans. Inclusion shouldn't be just policy but a moral responsibility. I do wonder what the "feminine" significance is in this title.
Be alert to the sensory limits of students (see the special education team) and provide a quiet place in the classroom for students who need a break.
I wonder if you could use music as a way to help regulate emotions and calm anxiety so the student is still participating? Either through listening to a calming song or making a beat.
It is important for students to have access to teachers and for students to know they can communicate with the adults at school in a manner that is comfortable and appropriate for them.
This changes how I think about how important communication is for students with disabilities. Instead of looking at these behaviours as "good" or "bad" we should instead be looking at the causes and what this could be potentially communicating.
Carson and I work out simple agreements during class and outside of class.
One connection I see is from the “Amy and Drew” story from class, where flexibility and understanding made inclusion work.
Conclusion
Conclusion: The main point of this chapter is that practicum experiences are essential for helping educators build confidence and strategies for teaching students with differences and disabilities. It encourages observation, collaboration, and reflection, and highlights how these experiences can even reshape a teacher’s philosophy of music education.
Music therapists are more concerned with how music can assist in the development of nonmusical goals rather than skill sets.
Changed Thinking: This changed how I think about music education. I usually think of music class as about learning songs or instruments, but this shows it can be about helping students communicate, build social skills, and reach emotional goals.
Mary really loved the vibrations from the drum and was able to participate without assistance in the program.
Personal Connection: This reminds me of how my younger brother, who is autistic, responds really well to music with strong beats, it helps calm him and keep him engaged.
(observation; serving as a one-on-one assistant; discussion and coaching; reflection; and planning) are crucial for successful practicum experiences in which preservice and in-service music teachers gain as much as possible through observation and participation.
Important Idea: This section is saying that observing, assisting, discussing, reflecting, and planning are key steps for educators to learn how to teach students with disabilities because it’s not just about watching but actively participating and thinking critically about what we see.
Cautionary Considerations
Question: This surprised me, I thought inclusion was always considered the best option. In what situations would a self-contained classroom actually be a better learning environment than an inclusion class?