Jean Nemeth, MA, MT-BC contracts music therapy services to public schools in Connecticut, working with students in a variety of classroom formats from pre-school through high school. In this AMTA-Pro Symposium, Jean informally discusses one approach to structuring music therapy sessions in inclusive classrooms, including integrated preschool (60/40) and  full inclusion elementary classes.

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Music Therapy in Inclusive Classrooms

Jean Nemeth, MA, MT-BC

AMTA-Pro Symposium
September, 2010
Podcast Discussion Outline

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I. Overview of Music Therapy Services

I work in the Cheshire, CT Public Schools serving the entire system, pre-k through high school. A pyramid design with decreasing numbers of students require educational support.

Preschool: I work with all the preschool classes with a 60/40% split between typically developing children and those with special needs.

Elementary Schools: I work predominately in inclusive classrooms.

Upper Elementary/Middle School: I also work in reverse inclusion design where targeted students bring peer ‘buddies’ to the music therapy session.

High School: I provide music therapy services to the Life Skills Class,  continuing to include peer ‘buddies.”

II. Inclusion Anyone?

A. Current trends in MT in the public school setting.

B. With the advent of inclusive education practices, which harkens back to the passage of PL-94-142 in 1975 and moved through IDEA and No Child Left Behind, the name of the game in public schools has been LRE, i.e. least restrictive environments. Loosely translated, LRE is inclusion of children with special needs in the regular education classroom.

C. Brief overview of logistics of music therapy services in schools.

III. Raison d’etre: Success in the Classroom

A. Music therapy in the public school system is IEP driven. (Individualized Educational Plan)

B. All programming music be necessary for student’s educational process.

C. Music therapy is added to child’s educational program when deemed necessary.

IV. Music Therapy: A Flexible Chameleon

A. Quote from the Effective Clinical Practice in MT monograph published in 2006 by AMTA on Early Childhood & School Age Ed settings, “Adaptability is often the key component in whether a music therapy program will be successful in the rigid, yet ever-fluctuating environment of a school system.”

B. The music therapist is the outsider coming in, working within the established format of the classroom. This is particularly necessary when the music therapist works with the whole class in an inclusion classroom.

C. Music therapist must adjust to a range of personalities, physical environments, program formats, teaching styles, and school cultures.

V. Building Skills – Enhancing the Process

A. The name of the game in schools is building skills. I am hired to enhance that process.

B. Making music naturally involves building skills – cognitive, motor, communication, and social skills.

C. Music is a rather unique medium that sets the stage for developing a variety of non-music skills, often simultaneously.

D. Music is a multi-sensory programming medium which provides more ‘possibilities to respond.’

VI. Into the Trenches

A. Right now, a large part of my work in the school system is either within the integrated preschool (60/40) or within the inclusionary, full classroom format.

B. Working in the classroom rather than pulling the student with special needs out for separate music therapy session benefits that student as well as peers.

C. Properly designed music therapy activities level the playing field.

VII. Mainstream and Inclusion Settings

A. Distinction between the concepts of “mainstream” and “inclusion.”

B. In mainstreaming, the primary responsibility lies with the special education staff. The student spends time each day in the regular education setting, but his educational program is designed and executed by the special education teacher and his home base is the special education classroom – even if  he/she spends more time outside that classroom than in.

C. In inclusion settings, however, primary responsibility for the child’s progress lies with the regular education classroom teacher. The child’s home base is the classroom and he/she is considered a FULL member of the regular class. Special Education support is generally delivered WITHIN the classroom as necessary.

D. Advantages and challenges of music therapist working within the inclusive classroom.

E. Tips for making the music therapy experience successful in an inclusive classroom.

VIII. Advantages of Circle Formation in Groups

A. Gives students a clear view of music therapist and peers.

B. Fosters focus and ability to follow cues.

C. Provides a controlled space for student movement.

D. Allows therapist to move quickly where needed.

E. Engenders group cohesiveness.

F. Supports passing, sharing, and ensemble activities.

IX. Considerations for Session Format

A. In designing the session format, keep in mind that everything you do has a purpose, and is goal driven.

B. My typical music therapy session includes a greeting activity, group movement, playing instruments, singing, and closing.

C. I try to keep a consistent overall design since familiarity makes it easier for students to focus on the activities and skill development.

D. Predictable structure provides a comfort level that fosters trust and predictability.

X. Music Ensembles: Purpose and Procedures

A. Musical Ensembles allow participants to develop receptive and processing skills, focus, coordination, and interest in participating.

B. Introduce concepts of sound and silence.

C. Introduce changes in tempo and dynamics.

D. Introduce call-response to build imitation skills and cooperative play.

E. Introduce song phrases, rhythmic accompaniment, movement, syllable singing, notation or visual cues, and other elements.

F. Gradually increase complexity, focusing on skills needed by those particular students.

XI. In Conclusion

Thank you for listening to this brief overview of one way to structure music therapy sessions in inclusive classrooms. Please feel free to contact me, Jean M. Nemeth, MA, MT-BC. My contact information is in the AMTA Sourcebook, or you can email me at [email protected]

Reference
Humpal, M. E. & Colwell, C. (Eds.). (2006). Effective clinical practice in music therapy: Early childhood and school age educational settings.  Silver Springs, MD: American Music Therapy Association.

About the Speaker

Jean Nemeth received her BS in Music Education from the University of Connecticut and her MA in Music Therapy at Teachers College, Columbia University. She is presently pursuing PhD Studies in Expressive Arts Therapies at Lesley University. Jean has operated a private music therapy practice for over 25 years, working primarily in the Cheshire CT Public Schools (almost 15 years) and  with the Wallingford Public Schools & Meriden Public Schools.

Jean has been very active in AMTA on the regional and national level, serving as New England Region Assembly Delegate since mid-90’s, a member of the NER Board for 18 years, Co-Chair for the AMTA Standards of Clinical Practice & Target Populations Committee for 7 years, Co-Chair of the AMTA Continuing Education Committee (4 yrs), Council Coordinator of professional Practices, alternate AMTA Assembly Representative to the AMTA Board of Directors, a member of the AMTA Development Advisory Committee, a member of the Committee Restructuring Task Force, a member of the Education & Training Advisory Board (4 yrs), and co-chair of the AMTA Silent Auction.

Jean was a contributing author in the AMTA monograph series publication, Effective Clinical Practice in Music Therapy: Early Childhood & School Age Educational Settings, edited by  Marcia Humpal and Cindy Colwell.