Implementing Universal Design Principles in Music Teaching
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| Title: | Implementing Universal Design Principles in Music Teaching |
|---|---|
| Language: | English |
| Authors: | Armes, Jocelyn W. (ORCID |
| Source: | Music Educators Journal. Sep 2022 109(1):44-51. |
| Availability: | SAGE Publications. 2455 Teller Road, Thousand Oaks, CA 91320. Tel: 800-818-7243; Tel: 805-499-9774; Fax: 800-583-2665; e-mail: journals@sagepub.com; Web site: https://sagepub.com |
| Peer Reviewed: | Y |
| Page Count: | 8 |
| Publication Date: | 2022 |
| Document Type: | Journal Articles Reports - Descriptive |
| Education Level: | Elementary Education |
| Descriptors: | Access to Education, Curriculum Implementation, Music Education, Students with Disabilities, Teaching Methods, Learner Engagement, Elementary Education, Singing, Musical Instruments |
| DOI: | 10.1177/00274321221114869 |
| ISSN: | 0027-4321 1945-0087 |
| Abstract: | Students with disabilities (SWDs) in the United States have a right to the least restrictive learning environment as enshrined in federal law. Until recently, conceptions about educating SWDs have drawn from medical models of disability (i.e., that the student must be accommodated to interact with the environment) rather than a social model of disability (i.e., that the environment can be cultivated for all kinds of individual needs). Universal Design for Learning (UDL) is an educational framework that music educators can use to shift their planning and instructional practices surrounding SWDs to encompass a social model of disability. Here, we define UDL principles, describe UDL implementation in music classroom contexts, and provide resources for further reading. |
| Abstractor: | As Provided |
| Entry Date: | 2022 |
| Accession Number: | EJ1351666 |
| Database: | ERIC |
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| FullText | Links: – Type: pdflink Url: https://content.ebscohost.com/cds/retrieve?content=AQICAHj0k_4E0hTGH8RJwT4gCJyBsGNe_WN95AvKlDbXJGqwxwFJqLUSCIgVGNvamOM6kyVMAAAA4zCB4AYJKoZIhvcNAQcGoIHSMIHPAgEAMIHJBgkqhkiG9w0BBwEwHgYJYIZIAWUDBAEuMBEEDMTHePXQyXvhLzaC_gIBEICBm2AxAZMQBdK5RJ4-_uIs0LbCJyzius-QcvEalwan3egRmsR-bBXf8sDdiyD1rlbWcpdeu-nHWLWmDbvOnc0qIxmCUDrGTA4SvnGNjPJ1dj3yLXMTusfVBx7UK9019oNuNDUYqI47ynpb73sWo4vDB65q_0UroMBbVhZyZUfKk9Gy74eFlz_67g_7TP02QUpdBIWW-umV8P1VDA2J Text: Availability: 1 Value: <anid>AN0159438770;mue01sep.22;2022Oct04.04:37;v2.2.500</anid> <title id="AN0159438770-1">Implementing Universal Design Principles in Music Teaching </title> <p>Students with disabilities (SWDs) in the United States have a right to the least restrictive learning environment as enshrined in federal law. Until recently, conceptions about educating SWDs have drawn from medical models of disability (i.e., that the student must be accommodated to interact with the environment) rather than a social model of disability (i.e., that the environment can be cultivated for all kinds of individual needs). Universal Design for Learning (UDL) is an educational framework that music educators can use to shift their planning and instructional practices surrounding SWDs to encompass a social model of disability. Here, we define UDL principles, describe UDL implementation in music classroom contexts, and provide resources for further reading.</p> <p>Keywords: choral; disability studies; general music; instrumental; Universal Design for Learning</p> <p>Incorporating Universal Design for Learning principles in your music classroom can help create a more accessible and inclusive learning experience for students.</p> <p>Graph: Photo of Jocelyn W. Armes courtesy of the first author</p> <p>In the United States, students with disabilities (SWDs) have a right to a free and appropriate education in the least-restrictive learning environment as defined by the Individuals with Disabilities Education Act (IDEA). In recent years, scholars have examined whether the legal requirements outlined in IDEA are sufficient to provide SWDs with meaningful access to education. Teryl [<reflink idref="bib5" id="ref1">5</reflink>] and Joseph [<reflink idref="bib1" id="ref2">1</reflink>], both music education researchers and scholars in disability studies, noted that special education policies have traditionally defined disability using a medical model that describes students' learning needs as deficits that require student-level intervention. SWDs are provided with individualized modifications or accommodations after the teacher has planned instruction for a typical student population. This approach does not require teachers to address educational barriers for SWDs at the systemic level.</p> <p>Graph: Photo of Adam Harry by Mei-Ling Shaw</p> <p>Graph: Photo of Rachel Grimsby by Kara Beth Photography</p> <p>Barriers to access and inclusion in K–12 music classes are well documented by music education researchers and practitioners ([<reflink idref="bib1" id="ref3">1</reflink>]; [<reflink idref="bib3" id="ref4">3</reflink>]; [<reflink idref="bib4" id="ref5">4</reflink>]). Music classrooms often present a number of cognitive, communicative, behavioral, emotional, physical, and sensory barriers ([<reflink idref="bib9" id="ref6">9</reflink>]; [<reflink idref="bib14" id="ref7">14</reflink>]). The frequent expectations that students decode notation, demonstrate music knowledge under highly specific parameters, and process complex musical information instantaneously all present potential cognitive and communicative barriers for SWDs. Music classes that require students to manipulate acoustic instruments for participation also present physical barriers for some students.</p> <p>Drawing on disability studies scholarship, [<reflink idref="bib6" id="ref8">6</reflink>] and Abramo (2017) described disabilities using a social model in which the environment should be altered to better accommodate a broader range of bodily and intellectual ways of being. Using a social model of disability, teachers intervene using different curricula and pedagogical strategies to best meet the needs of all students from the outset of planning. To facilitate planning instruction from a <emph>social</emph> conception of disability, teachers may wish to consider Universal Design for Learning (UDL). While UDL is typically considered when teaching SWDs, it is applicable to the instruction of all students. In this article, we explain the principles of UDL and offer suggestions for its implementation in music education settings.</p> <hd id="AN0159438770-2">What Is UDL?</hd> <p>In the late 1980s, American architect Ronald Mace, with others, developed the architectural paradigm "universal design" to provide integrated, universal access to buildings regardless of one's bodily modality ([<reflink idref="bib17" id="ref9">17</reflink>]). In recent years, educators and researchers have applied principles of universal design to research, curriculum development, and teaching practices to improve educational access for SWDs. UDL is a framework developed by the Center for Applied Science and Technology (now CAST) to shift the focus from addressing an individual's disability toward addressing barriers to student learning in classroom environments and instruction ([<reflink idref="bib13" id="ref10">13</reflink>]). The principles of UDL are a guide for educators' praxis based on the premise that all students engage in learning differently and that curriculum should be presented in ways that meet students' learning modalities based on three core principles: provide (a) multiple means of engagement, (b) multiple means of representation, and (c) multiple means of action and expression.</p> <hd id="AN0159438770-3">Multiple Means of Engagement</hd> <p>In UDL, students' motivation to learn is harnessed through multiple means of engagement. To engage students, music educators could consider (a) making content socially and culturally relevant to students, (b) optimizing student choice through co-designed learning goals, and (c) minimizing sensory stimulation and environmental distractions. In UDL, educators provide flexible and supportive instruction, develop a classroom environment that centers on community, and focus on student growth rather than arbitrary outcomes (CAST, n.d.). Additionally, educators could teach students how to respond to growth and setbacks in emotionally healthy ways and embrace mistakes as an essential part of the learning process. Music educators may need to guide students in understanding the intrinsic value of setting and attaining their own goals and to take pride and ownership throughout the learning process. Developing intrinsic motivation is essential in maintaining student interest and sustained effort in a subject (Evans, 2015).</p> <hd id="AN0159438770-4">Multiple Means of Representation</hd> <p>To provide multiple means of representation, music educators need to understand how their students perceive and prefer to engage with content aurally, visually, and/or kinesthetically. Music educators who make use of UDL ensure that language and symbols representing curricular content are accessible. Music educators may choose to use graphics that highlight important "text" relationships, provide content in the languages students speak, or use a variety of visual/audio tools, such as film, recordings, and other digital media. Additionally, music educators who use UDL scaffold learning for student comprehension. Music educators can support student comprehension by connecting new knowledge to previous knowledge, using guiding questions to bring students' attention to critical content, and providing flexibility for students' responses.</p> <hd id="AN0159438770-5">Multiple Means of Action and Expression</hd> <p>To provide multiple means of action and expression requires music educators to broaden their understanding of how students may demonstrate mastery of course content. One of the most substantial challenges, particularly for general and instrumental music educators, is addressing the physical demands often required to participate in classroom activities that create barriers to entry into the learning process. The options that music teachers provide for class participation and demonstration of musical knowledge need to include low physical demands and a range of gross and fine motor skills from which students may choose. Leveraging assistive technologies will likely be central to achieving this goal in many music classes. While multiple means of representation demand that we present information in different modalities, music educators may leverage multiple means of expression to allow students to engage with curricula and demonstrate knowledge gained through a variety of media. If students are asked to compose a melody, then all of them participate but may compose differently. Students may use notation software, paper and pencil, pictures, voice recordings, or assistive technology. Last, providing multiple means of action and expression suggests the need for music educators to broaden their conceptions of musical literacy and differentiate the level of support that each student may need to effectively demonstrate what they have learned.</p> <p>When implementing principles of UDL, music educators should center student autonomy and choice within learning processes. This may be done through providing options for how a student approaches a learning objective, the context of content taught, and choice of materials used to complete tasks ([<reflink idref="bib2" id="ref11">2</reflink>]). Student choice is fundamental in providing multiple means of engagement, representation, and action and expression. This component of UDL has both ethical and pedagogical dimensions. First, providing space for agency for SWDs affords them the autonomy that is frequently taken from them in most social and learning environments. Second, student agency is grounded in the belief that individuals, regardless of their capabilities, know best the ways they learn.</p> <hd id="AN0159438770-6">Implementing UDL in Music Education</hd> <p>Music educators may use UDL as a lens for critically examining their teaching and instructional practices. Implementing UDL does not involve a checklist of principles or suggestions that one considers after curriculum and lessons have been written. The principles of UDL are designed to be used from the beginning of the curriculum and lesson planning process. In the following sections, we offer suggestions for how music educators might implement UDL throughout their curriculum and instructional processes.</p> <hd id="AN0159438770-7">Elementary General Music</hd> <p>Singing games, canon singing, creative movement, folk dancing, and playing instruments are activities elementary general music educators frequently use to develop students' musical skills. Using UDL principles, elementary general music educators can make their instruction more accessible to all learners regardless of intellectual and/or bodily differences. In the following example, we highlight a learning scenario for a third-grade class based upon Orff processes and incorporating UDL principles for multiple means of engagement, representation, and expression.</p> <p>In this class, students will create an arrangement for the song "Hop Old Squirrel" over the course of several lessons, culminating in a final performance. First, educators could sing the piece and invite students to move in response to the beat or to create movements they believe best fit the song. For example, the educator could ask, "What are other ways the squirrel could move in addition to hopping?" Alternatively, students could keep the macro/micro beat while seated or walk around the room on the macro/micro beat. The educator could keep time on a drum as they sing to assist students in beat synchronization.</p> <p>Next, the educator would invite students to sit behind a barred instrument (e.g., bass, alto, and soprano metallophones and xylophones, and glockenspiels) as they model one or several of the following borduns:[<reflink idref="bib2" id="ref12">2</reflink>] basic, broken, leveled, and crossover. Students then select a bordun and "noodle" on the barred instruments to create a countermelody that fits with the main melody of the song. As a class, students select which parts could be played by each instrument. To add unpitched percussion, students might draw inspiration from the song lyrics ("hop," "squirrel," "eiddle-dum"). After parts are assigned and the piece is practiced, students may consider adding B or C sections, additional movement, or additional instrumentation in future classes. Across each lesson, the teacher invites students to refine, reflect on, and adjust their "arrangement" until their final lesson day, when students perform.</p> <p>Having multiple means of engagement often is the easiest way to provide students with multiple entry points in movement, singing, playing, and/or creation of an arrangement. Students may choose to remain nonlocomotive or locomotive regardless of their physical differences. All students are taught all parts and are allowed to choose the part they play, allowing them to experience agency and success. Finally, students are provided choice in the form, expressive elements, and complexity of a piece, its rehearsal, and its final performance.</p> <p>At first it may seem difficult for music educators to provide multiple means of representation, especially if they adhere to a sound-before-sight pedagogy. Multiple means of representation can be visual, auditory, and kinesthetic. To assimilate a song, students could be provided visuals that represent the lyrics rather than a lyric sheet, kinesthetic input through moving to the beat, and/or auditory input through listening to the teacher as the teacher sings. Additional means of representation may be included while teaching borduns: naming the letter of the bars being played, projecting a visual of a xylophone with highlighted bars, or having students partner up and teach one another each bordun. Visual anchors—either drawn letters, pictures, or puppets to represent the decided form to be performed—also could be an additional means of representing musical content.</p> <p>Music educators can provide multiple means of expression in a variety of ways. Students might choose how they demonstrate beat through locomotor or non-locomotor movement, autonomously choose a bordun that best fits their skill level, or how they contribute to the arrangement "Hop Old Squirrel." In allowing students agency in how the arrangement is composed, students can show an understanding of musical knowledge through creation, singing, performance, and/or movement.</p> <hd id="AN0159438770-8">Choral Music</hd> <p>Choral music classroom practices are informed by a set of traditions that could impose artificial limitations on instructional and curricular practices. Such limitations include part assignment (a role often determined by vocal range or Fach, dependence on selecting and decoding written notation, memorization, and standing for extended periods in rehearsal and performance). While many choral educators may not strictly adhere to part assignments and full reliance on notation, these strategies are commonly employed. Implementing UDL principles may require a departure from some practices. Using [<reflink idref="bib10" id="ref13">10</reflink>] arrangement of "Somagwaza" in <emph>Two South African Ceremonial Songs</emph>, published by Alliance Music, we present several ways in which a choral music educator might incorporate UDL principles in their practice. Initially, educators may present the cultural significance of "Somagwaza" as a ceremonial song signaling the rite of passage into adulthood for Bantu youth. There are several excellent reference recordings by culture bearers, including Pete Seeger's recordings of Bantu youth during his travels in South Africa.[<reflink idref="bib3" id="ref14">3</reflink>] To reflect the oral tradition of African folk music, choral educators should present this octavo at least initially by rote.</p> <p>There are several ways in which choral educators may incorporate multiple means of engagement. Student choice is one of the simplest ways to support engagement. In this arrangement of "Somagwaza," percussion is written to accompany the vocalists. The choral educator could allow students choice in what percussion instruments, made or found, are played for the notated percussion line. Additionally, choral educators could allow students to create complementary percussion ostinati that they feel fit with the piece. Allowing students to choose their voice part is another way for the choral educator to provide multiple means of engagement. Teaching students all parts in their respective vocal ranges increases students' opportunities to engage in singing throughout rehearsals. Finally, choral educators could invite student leaders to teach and conduct the octavo, thus alleviating the power dynamic between student and choral educator that can create barriers for some student learners.</p> <p>As previously discussed, multiple means of representation might at first appear challenging. Typically, students engage with octavos that show Western notation: black notes on a white page. If the piece lends itself to the whole-song approach ([<reflink idref="bib15" id="ref15">15</reflink>]) as in our example, then students could learn repertoire without Western notation.[<reflink idref="bib4" id="ref16">4</reflink>] To internalize pulse, students could physically explore the classroom space on the macro or micro beats, which are the same as the notated percussion ostinati. As students walk on the macro/micro beats, or play on the macro/micro beats, the choral educator might sing each part multiple times. As students learn parts, the choral educator moves to other vocal lines until all parts are assimilated by the students. Notation can be provided, but alternative notation may be necessary for some students. Rather than providing alternative notation for some students, the choral educator could project visual representations, thus allowing students to choose to follow the traditional octavo or projected representation. An example of visual notation could be using colored dots and line segments to represent each voice part ([<reflink idref="bib8" id="ref17">8</reflink>]). The choral educator ought to consider students with color blindness and other visual impairments when creating these visuals by offering full-color visuals and grayscale and/or altering the size of provided visuals. Then, students could show the melodic/harmonic contours through hand signs or student-created hand movement.</p> <p>Choral educators may further increase students' engagement by providing multiple means of action and expression to evidence learning. A simple example is providing adjustments in scoring for vocal range. In the example repertoire, students in voice lines 1 and 2 are expected to sing an A3. This may be too low for some students, but allowing students to sing either A3 or A4 would provide options to encourage effort. Or, in keeping with oral tradition, the piece could be sung in any number of keys, depending on the vocal range of the members in the group. Some students may struggle with performance anxiety or be unable to sing "in time" with their peers. Recording some parts and adjusting them through digital audio workstations (DAWs) may provide students options to self-regulate while still participating within a performance. Prerecording parts also may allow students who use assistive devices to communicate, such as switches, the ability to participate.[<reflink idref="bib5" id="ref18">5</reflink>] Adjusting the octavo and layering in vocal lines one at a time, for example, m. 5, could scaffold student success and allow multiple entry points for student singers. The use of hand signs or movement, for example, with scarves, while singing is another way for the choral educator to provide multiple means of expression. Students who are not orally verbal, are selective mute, or have performance anxiety may choose to sing and do motions or simply do motions, providing them a way to participate in the performance.</p> <hd id="AN0159438770-9">Instrumental Music</hd> <p>Implementing UDL in instrumental music classrooms poses unique challenges and will necessitate reimagining the ways we approach curriculum and pedagogy by departing from the traditional "on-the-podium" rehearsal format. For example, a baseline expectation in most instrumental music classrooms is that all students in the class are able to hold and effectively manipulate a complex acoustic instrument. Ensemble instrumentation reflects performance traditions and practices within professional performing ensembles that may limit the ways in which students engage with musical concepts, and UDL would require instrumental music teachers to provide a wider variety of inclusive ways for students to be involved in their class. Traditional instrumental music classrooms (i.e., band, orchestra) tend to emphasize technique development, accurate replication of existing works, and recall of knowledge related to musical elements (i.e., pitch, rhythm, dynamics, timbre, form; [<reflink idref="bib11" id="ref19">11</reflink>]). Implementing UDL principles in instrumental classrooms may enrich musical learning for students by engaging them through multiple musicking processes, including moving, listening, singing, composing, and improvising. Further mimicking professional ensembles, these instrumental music ensembles are frequently organized based on audition results and segregate students by ability level, a practice that is contrary to the theoretical foundations of inclusive learning environments.</p> <p>To illustrate curricular possibilities, we will consider one of the most traditional band experiences: preparing an American march. For this example, we will use Jay Bocook's flex arrangement of John Philip [<reflink idref="bib16" id="ref20">16</reflink>] "The Thunderer" published by Hal Leonard. Flex arrangements are pieces where each of the voices of the arrangement have been scored for multiple transpositions and voicings. This flexible approach to scoring allows each ensemble to create their own version of the piece by choosing the instrumentation and voicing that works best for their students and ensemble. While using a flex arrangement does not inherently conform to UDL principles, these works do offer more possibilities when attempting to implement UDL in instrumental ensembles.</p> <p>As with choral ensembles, providing multiple means of engagement to recruit student interest in classroom activities involves centering student input and choice. This may mean allowing students the opportunity to help pick concert repertoire. Using flex arrangements of traditional works, for example, "The Thunderer," allows instrumental music educators to provide students the choice of what part is most appealing and currently accessible to them. To "optimize relevance, value, and authenticity" ([<reflink idref="bib2" id="ref21">2</reflink>]), instrumental music teachers could offer performing ensembles open to performing a diverse array of literature, including popular musics that reflect student interests and listening preferences. Moreover, musical diversity should manifest not only in content but also in the process of musical teaching and learning—providing ways for students to compose, improvise, learn by ear, and so on.</p> <p>When teaching a piece like "The Thunderer," a music teacher might recruit interest through a listening activity. Students may be asked to deductively identify features that are "march-like." Following a close listening, students could label those qualities in their own music (across the various parts of the flex arrangement). The teacher could also draw on Dalcroze teaching methods and engage students in movement-based interpretations of the musical style and phrasing gestures in ways that suit their bodily modality. Using the "march-like qualities" from the listening and movement activities, students may evidence understanding by designing a checklist or holistic rubric.</p> <p>In traditional instrumental music curricula, teachers often focus intensely on developing students' literacy skills using Western notation to decode a specific repertoire. For cognitively divergent or visually impaired students, such expectations for experiencing music present a barrier to participation in class. In implementing multiple means of representation, teachers could supplement existing music with assistive or alternative notation (e.g., Braille music), replace printed music with conceptual maps, or eschew notation entirely in favor of aural development. For example, in "The Thunderer," students performing part 3 provide the upbeat rhythmic pulse frequently associated with French horn parts during the first strain. This highly repetitive part does not necessitate constant tracking of a notated part to perform successfully. Students could demonstrate understanding of the function of part 3 within the performance of "The Thunderer" by drawing a pattern that iconically conveys the rhythmic organization of the part. They could then use different colors to draw the melodic contour and rhythmic shape of the other parts they hear in the band. Through this activity, all students on part 3 would come to realize that their part rhythmically and stylistically complements the bass line and contrasts the melodic materials presented in parts 1 and 2. Moreover, they would learn core elements about the construction of a march, which could be later assessed as a transferred skill in the performance of other marches or through compositional activities.</p> <p>Providing multiple means of action and expression allows students in instrumental music classrooms the opportunity to evidence understanding of musical learning outcomes in ways best suited to their needs. Music teachers can provide multiple options for physical access and action to students with physical disabilities by expanding the range of acceptable instruments available to students, mitigating the physical effort required to play traditional orchestral and band instruments through assistive technology (e.g., braces, stands, prosthetics). For example, a student may feel more confident expressing rhythmic competency on downbeat quarter notes in part 5 (i.e., the bass line) by singing it or performing it via DAW with a more approachable instrument input device (e.g., push pad). This allows students to authentically participate in ways that do not necessitate the additional layers of technical and procedural knowledge required to play an acoustic instrument.</p> <p>The benefit of a flex arrangement is that student choice and opportunities for action and expression can be maximized by the teacher depending on the learning outcomes. For example, each part could be played by various instruments so that students can select the part that best reflects their learning needs. The teacher could then rearrange the room by grouping students in pods by part (i.e., one of each of the five parts and percussion) rather than by instrument ([<reflink idref="bib1" id="ref22">1</reflink>]; [<reflink idref="bib12" id="ref23">12</reflink>]). Notably, this approach requires prioritizing students' learning needs over traditional orchestration and instrument voicing.</p> <p>Finally, instrumental teachers can facilitate musical independence in students by allowing students to plan their own journey toward a set of learning outcomes, either organically or by selecting from a bank of options. If an outcome for learning "The Thunderer" was to understand the core components of an American march, students might choose to compose their own march that exemplifies a co-created list of components, compare and contrast multiple American marches in an oral presentation for the class, or improvise contrasting first and second strain sections of a march over a prerecorded accompaniment of part 5 and percussion.</p> <hd id="AN0159438770-10">Flexibility Means More Inclusion</hd> <p>By shifting their instructional paradigm from accommodating perceived student deficits toward addressing instructional barriers, music educators can use UDL to develop a more inclusive classroom for all students through flexible pedagogical practices and curricular design. While UDL at first appears overwhelming, this framework may encourage music educators to provide multiple entry points for all students and improve access to music for SWDs. Music educators interested in further reading on UDL principles and their use in music classrooms can consult any of the resources provided in Figure 1. Offering students choices, representing content in a variety of modalities, and providing a variety of options for engagement and student expression may optimize student learning outcomes and allow the music educator to include all those they teach in instruction. We hope that the examples provided, both in this article and in Figure 2, will offer a starting point for readers to consider, understand, and use UDL in their own teaching spaces.</p> <p>Graph: Figure 1 Additional Suggested Resources</p> <p>Graph: Figure 2 Universal Design for Learning Examples for Music Educators</p> <p>Jocelyn W. Armes is a Lecturer of Music Education at the University of Southern Maine in Gorham; she can be contacted at jocelynwarmes@gmail.com. Adam G. Harry is an Assistant Professor of Music Education at the University of Iowa, Iowa City; he can be contacted at adam-harry@uiowa.edu. Rachel Grimsby is an Assistant Professor of Music Education at Illinois State University, Normal; she can be contacted at rlgrim1@ilstu.edu. To take a survey for professional development recognition after reading this article, contact Ella Wilcox at EllaW@nafme.org.</p> <ref id="AN0159438770-11"> <title> References </title> <blist> <bibl id="bib1" idref="ref2" type="bt">1</bibl> <bibtext> Abramo J. (2012). Disability in the classroom: Current trends and impacts on music education. Music Educators Journal, 99(1), 39–45. https://doi.org/10.1177/0027432112448824</bibtext> </blist> <blist> <bibl id="bib2" idref="ref11" type="bt">2</bibl> <bibtext> CAST. (n.d.). The UDL guidelines. 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Universal Design for Learning: Meeting the challenge of individual learning differences through a neurocognitive perspective. Universal Access in the Information Society, 5(4), 381–391. https://doi.org/10.1007/s10209-006-0062-8</bibtext> </blist> <blist> <bibtext> Sorrel N. K. (2006). The effects of immersion and phrase-by-phrase learning on elementary students' song acquisition [Unpublished master's thesis]. Texas Tech University.</bibtext> </blist> <blist> <bibtext> Sousa J. P. (2018). "The Thunderer" [Musical score]. Hal Leonard Publications. (Original work published 1889)</bibtext> </blist> <blist> <bibtext> Story M. F., Mueller J. L., Mace R. L. (1998). The universal design file: Designing for people of all ages and abilities. Center for Universal Design.</bibtext> </blist> </ref> <ref id="AN0159438770-12"> <title> Footnotes </title> <blist> <bibtext> Jocelyn W. Armes</bibtext> </blist> <blist> <bibtext>Graph https://orcid.org/0000-0001-5388-9665</bibtext> </blist> <blist> <bibtext> A <emph>bordun</emph> is a pattern played on a barred instrument that typically outlines the harmonic function of a piece. Basic borduns are performed on the beat with the first and fifth scale degrees being played simultaneously. Broken borduns are performed alternating between the first and fifth scale degrees. More information may be found at https://aosa.org/about/what-is-orff-schulwerk/.</bibtext> </blist> <blist> <bibtext> Recordings may be found at https://folkways.si.edu/the-song-swappers-and-pete-seeger/bantu-choral-folk-songs/world/music/album/smithsonian.</bibtext> </blist> <blist> <bibtext> The whole-song approach is when the music educator repeatedly sings a song while students move, play a game, or listen for certain elements within the song.</bibtext> </blist> <blist> <bibtext> Switches, or BigMacs, are devices that record sound. When pressed by the student, the recording plays. An example may be found here: https://enablingdevices.com/product/compact-switches/.</bibtext> </blist> </ref> <aug> <p>By Jocelyn W. Armes; Adam G. Harry and Rachel Grimsby</p> <p>Reported by Author; Author; Author</p> </aug> <nolink nlid="nl1" bibid="bib14" firstref="ref7"></nolink> <nolink nlid="nl2" bibid="bib17" firstref="ref9"></nolink> <nolink nlid="nl3" bibid="bib13" firstref="ref10"></nolink> <nolink nlid="nl4" bibid="bib10" firstref="ref13"></nolink> <nolink nlid="nl5" bibid="bib15" firstref="ref15"></nolink> <nolink nlid="nl6" bibid="bib11" firstref="ref19"></nolink> <nolink nlid="nl7" bibid="bib16" firstref="ref20"></nolink> <nolink nlid="nl8" bibid="bib12" firstref="ref23"></nolink> |
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| Items | – Name: Title Label: Title Group: Ti Data: Implementing Universal Design Principles in Music Teaching – Name: Language Label: Language Group: Lang Data: English – Name: Author Label: Authors Group: Au Data: <searchLink fieldCode="AR" term="%22Armes%2C+Jocelyn+W%2E%22">Armes, Jocelyn W.</searchLink> (ORCID <externalLink term="https://orcid.org/0000-0001-5388-9665">0000-0001-5388-9665</externalLink>)<br /><searchLink fieldCode="AR" term="%22Harry%2C+Adam+G%2E%22">Harry, Adam G.</searchLink><br /><searchLink fieldCode="AR" term="%22Grimsby%2C+Rachel%22">Grimsby, Rachel</searchLink> – Name: TitleSource Label: Source Group: Src Data: <searchLink fieldCode="SO" term="%22Music+Educators+Journal%22"><i>Music Educators Journal</i></searchLink>. Sep 2022 109(1):44-51. – Name: Avail Label: Availability Group: Avail Data: SAGE Publications. 2455 Teller Road, Thousand Oaks, CA 91320. Tel: 800-818-7243; Tel: 805-499-9774; Fax: 800-583-2665; e-mail: journals@sagepub.com; Web site: https://sagepub.com – Name: PeerReviewed Label: Peer Reviewed Group: SrcInfo Data: Y – Name: Pages Label: Page Count Group: Src Data: 8 – Name: DatePubCY Label: Publication Date Group: Date Data: 2022 – Name: TypeDocument Label: Document Type Group: TypDoc Data: Journal Articles<br />Reports - Descriptive – Name: Audience Label: Education Level Group: Audnce Data: <searchLink fieldCode="EL" term="%22Elementary+Education%22">Elementary Education</searchLink> – Name: Subject Label: Descriptors Group: Su Data: <searchLink fieldCode="DE" term="%22Access+to+Education%22">Access to Education</searchLink><br /><searchLink fieldCode="DE" term="%22Curriculum+Implementation%22">Curriculum Implementation</searchLink><br /><searchLink fieldCode="DE" term="%22Music+Education%22">Music Education</searchLink><br /><searchLink fieldCode="DE" term="%22Students+with+Disabilities%22">Students with Disabilities</searchLink><br /><searchLink fieldCode="DE" term="%22Teaching+Methods%22">Teaching Methods</searchLink><br /><searchLink fieldCode="DE" term="%22Learner+Engagement%22">Learner Engagement</searchLink><br /><searchLink fieldCode="DE" term="%22Elementary+Education%22">Elementary Education</searchLink><br /><searchLink fieldCode="DE" term="%22Singing%22">Singing</searchLink><br /><searchLink fieldCode="DE" term="%22Musical+Instruments%22">Musical Instruments</searchLink> – Name: DOI Label: DOI Group: ID Data: 10.1177/00274321221114869 – Name: ISSN Label: ISSN Group: ISSN Data: 0027-4321<br />1945-0087 – Name: Abstract Label: Abstract Group: Ab Data: Students with disabilities (SWDs) in the United States have a right to the least restrictive learning environment as enshrined in federal law. Until recently, conceptions about educating SWDs have drawn from medical models of disability (i.e., that the student must be accommodated to interact with the environment) rather than a social model of disability (i.e., that the environment can be cultivated for all kinds of individual needs). Universal Design for Learning (UDL) is an educational framework that music educators can use to shift their planning and instructional practices surrounding SWDs to encompass a social model of disability. Here, we define UDL principles, describe UDL implementation in music classroom contexts, and provide resources for further reading. – Name: AbstractInfo Label: Abstractor Group: Ab Data: As Provided – Name: DateEntry Label: Entry Date Group: Date Data: 2022 – Name: AN Label: Accession Number Group: ID Data: EJ1351666 |
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| RecordInfo | BibRecord: BibEntity: Identifiers: – Type: doi Value: 10.1177/00274321221114869 Languages: – Text: English PhysicalDescription: Pagination: PageCount: 8 StartPage: 44 Subjects: – SubjectFull: Access to Education Type: general – SubjectFull: Curriculum Implementation Type: general – SubjectFull: Music Education Type: general – SubjectFull: Students with Disabilities Type: general – SubjectFull: Teaching Methods Type: general – SubjectFull: Learner Engagement Type: general – SubjectFull: Elementary Education Type: general – SubjectFull: Singing Type: general – SubjectFull: Musical Instruments Type: general Titles: – TitleFull: Implementing Universal Design Principles in Music Teaching Type: main BibRelationships: HasContributorRelationships: – PersonEntity: Name: NameFull: Armes, Jocelyn W. – PersonEntity: Name: NameFull: Harry, Adam G. – PersonEntity: Name: NameFull: Grimsby, Rachel IsPartOfRelationships: – BibEntity: Dates: – D: 01 M: 09 Type: published Y: 2022 Identifiers: – Type: issn-print Value: 0027-4321 – Type: issn-electronic Value: 1945-0087 Numbering: – Type: volume Value: 109 – Type: issue Value: 1 Titles: – TitleFull: Music Educators Journal Type: main |
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