Ryan M. Hourigan

Preservice Music Teachers' Perceptions of Fieldwork Experiences in a Special Needs Classroom.

The purpose of this study was to examine phenomenologically a special needs fieldwork experience through the perceptions of seven participants. All of the participants were a part of a long-term field experience. The research question was: How was this experience, assisting and teaching students with special needs in an elementary general music context, perceived and constructed by the participants individually and as they collaborated and interacted with one another, as indicated by journals, semistructured interviews, case writing, and field observations? A qualitative particularistic case study design was used in this investigation. Data included journals, participant interviews, observations, and an orientation session video. Findings suggested that (a) the orientation process to fieldwork with children with disabilities, which included the case method of teaching, was perceived as valuable; (b) observation, journaling, discussion, and the relationships that emerged were important to the participants; and (c) reflective practice may have occurred in this study.

Race to the Top: Implications for Professional Development in Arts Education.

This article provides an initial look at Race to the Top as it relates to professional development for arts educators. Topics include the philosophy of Race to the Top education reform, data informed professional development, performance pay, and how these changes may affect arts educators.

Conditions That Facilitate Music Learning among Students with Special Needs: A Mixed-Methods Inquiry.

The purpose of this mixed-methods study was to identify and define the conditions that facilitate learning in music among students with special needs. Children with special needs met once a week for 10 consecutive weeks and received instruction in primarily music as well as the other arts. The children completed pre- and posttest evaluations that served as measurements of musical ability and growth. A paired-samples t test revealed a significant difference between pre- and posttest scores. Additionally, all of the study participants (the children, each child’s parent and/or guardian, university students serving as mentors, and professionals who supervised the program) completed semistructured interviews in order to determine the conditions that may have led to the children’s musical growth. Qualitative results corroborated the quantitative results and indicated that repetition, student choice, and increased response time were considered important teaching strategies that led to student growth and learning. Likewise, having in place clear directions and expectations, a behavior plan, and fostering a positive atmosphere that was free of distractions were identified by the participants as important conditions that must be met for learning to take place. A model for including children with special needs in public school music programs is discussed.

The Fundamentals of Special Education Policy: Implications for Music Teachers and Music Teacher Education

The purpose of this article is to examine the fundamentals of the Individuals with Disabilities Education Act and its impact on music educators. Topics include: (a) zero reject, (b) non-discriminatory evaluations, (c) free appropriate public education, (d) least restrictive environment, (e) procedural due process, (f) parental involvement, and (g) response to intervention (RTI). Detailed explanations of policy are provided along with strategies for implication in the music classroom.

Intersections between School Reform, the Arts, and Special Education: The Children Left Behind.

Arts education and special education within public schools have faced similar challenges in the wake of school reform. Services and programming have been reduced, leaving a larger gap in resources and accessibility. Because of loopholes in policy, new reform initiatives such as vouchers and charter schools will continue to marginalize students with exceptionalities, minorities, and students in poverty, as well as arts and humanities programs. Recommendations to reduce this gap include an alliance between arts, humanities, and special education organizations in order to create a stronger voice for advocacy and accessibility. In addition, the author recommends that charter schools and private schools that use federal and state dollars (e.g., voucher programs) should be subject to federal special education law and required to offer arts programs. Admission to charter schools should not be talent-based and should be accessible to all students.

Understanding the Mind of a Student with Autism in Music Class.

This article offers a unique look into the cognitive processes of students with autism spectrum disorder in music classrooms. Concepts include theory of mind, weak central coherence, executive function, joint attention, and social attention. Behavior implications are also examined. Specific examples of support tools for the music classroom are provided.

A Comparative Case Study of Learning Strategies and Recommendations of Five Professional Musicians With Dyslexia

Many of the characteristics of dyslexia—such as difficulties with decoding written symbols, phonemic awareness, physical coordination, and readable handwriting—may adversely affect music learning. Despite challenges, individuals with dyslexia can succeed in music. The purpose of this study was to examine the perceptions of five professional musicians with dyslexia as they reflect on their experiences learning music. Answers to the following research questions were sought: (a) What are the perceived abilities and challenges that the participants believe they have developed in music because of their diagnoses of dyslexia? (b) What strategies have the participants used to overcome the challenges associated with dyslexia? and (c) What recommendations did the participants have for adults to assist students with dyslexia who are enrolled in school music programs? The findings in this study included support for multisensory teaching, isolating musical components, learning of jazz and popular music, using technology, and small group instruction.