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RUNNINGHEAD:LETSROCK

LetsRock:TheMeansandMeaningsofParticipationinaMusicTherapyRockBand
ComprisedofYoungAdultswithDevelopmentalDisabilities

JesseRathgeber
November17,2015

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ABSTRACT

Thiscasestudyexploresthemeansandmeaningsofparticipationinamusictherapyrockband
foryoungadultmembers.Theband,theSmoothCriminals,wascomprisedoffiveyoungadult
membersdiagnosedwithdevelopmentaldisabilitiesandfouradultassistants,includingthree
musictherapists/internsandmyselfasavolunteer.Datacollectionincluded:videorecordingsof
weeklyrehearsalsandthreeconcertfieldnotesinterviewswithyoungadultmembers,their
familymembers,andtheotheradultassistantsandaresearcherjournal.Throughdataanalysis
usingorganizationalandaxialcoding,threemajorthemesemerged:(1)youngadultmembersuse
thebandasaspacetoplaywithandconstructpersonalidentity,(2)participationintheband
affordtheyoungadultmembersandtheirfamilymembersaspaceforcommunityandmutual
care,and(3)adultassistantsasactingasembellishersandprovidingasafetynet.Findings
suggesttheexperiencesholdmostlysocialandidentitybasedmeaningsforyoungadultsandthat
actionsoftheyoungadultsarefacilitatedbyselfadaptationsandhelpfromadultassistants.The
discussionexplorespossibleimplicationsofthisstudyformusiceducationandmusiceducation
researchpractices.

Keywords:Developmentaldisabilities,musictherapy,popularmusic,adaptivepractices,
inclusion

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Introduction

Musiceducationliteraturerelatedtodisabilityoftendiscussadaptivestrategiesand
discussthefeelingsandbeliefsregardingstudentswithdisabilitiesofmusiceducatorsand
socalledtypicallydevelopingpeers.However,thespecificperspectives,practices,and
meaningsofmusicexperiencesofstudentswithdisabilitiesarerarelycentralinthisliterature.
Yet,whatmightthesedetailstellaboutthemeaningfulnessofmusicalexperiencesforstudents
withdisabilitiesandevenhelptoinformenablingpractices?Iexplorethemeansandmeanings
1

ofparticipationintheSmoothCriminals throughtheexperiencesandperspectivesoftheyoung
adultmemberswithdevelopmentaldisabilitieswhocomprisethismusictherapyrockbandasa
meansofincorporatingdifferentvoicesintomusiceducationliterature.
LiteratureReview
Researchliteratureinvestigatingissuesofdisabilityinmusicmakingandlearningspaces
canbegroupedintothreecategories:(1)adaptivepractices(2)attitudes,perceptions,and
experiencesofteachersandpeersofstudentswithdisabilitiesand(3)musicmakingand
learningofpersonswithdisabilities.Thefirstcategoryadaptivepracticesaccountsforthe
largestpercentageofthisliterature.Publicationsinthisveinappearinpractitionerjournals(i.e.
Abramo,2012Adamek,2001Hoem1972McCord&Fitzgerald2006Stambaugh,1996),
pedagogicaltexts(i.e.Adamek&Darrow,2010Atterbury,1990Hammel&Hourigan2011
2013Jellison,2014Sobol,2008McCord,Gruben,&Rathgeber,2014)andinresearch
publications(i.e.Jellison,Brooks,&Huck,1984Jellison&Gainer,1995Kivijrvi,2012
McCord,2004).Theauthorsdiscussgeneraltechniquesforinclusionandspecifictypesof

Iusepseudonymsforthebandsname,theyoungadultmembers,andalladultassistants.

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adaptationstohelpmakemusicmakingandlearningspacesmoreaccessibleforstudentswith
disabilities.Manyauthorsdescribeusesforassistiveoradaptivetechnology,whichareitems
usedtoincrease,maintain,orimprovethefunctioningcapabilitiesofindividualswith
disabilities(Accardo&Whitman,2011,p.36),particularlyadaptationstonotationand
instrumentsaswellastheuseofspeciallydesignedmusicdevices.Overall,thefocusofthese
publicationscenteronwhatmusicfacilitatorscandotoadaptmaterialsandspacestoaddressthe
needsandcapabilitiesofdisabledstudents.
Thesecondmajorcategoryofdisabilityandmusicmaking/learningliteratureareresearch
studiesinspectingattitudes,perceptions,andexperiencesofteachersandnondisabledpeers
workingwithdisabledstudentsinmusicsettings.Manystudiesconveyhowmusiceducatorscan
feelhesitantandunderpreparedtoworkwithstudentswithdisabilities(Gilbert&Asmus,1981
Hourigan,2009Scott,Jellison,Chappell,&Standridge,2007).Wilson&McCrary(1999)
identifythepositiveimpactthatspecificeducationalexperiencesrelatedtostudentswith
disabilitiescanhaveuponmusiceducationstudents,thoughtheynotedadisparitybetweenan
increaseinfeelingsofcapabilityandadecreasefeelingsofwillingnesstoworkwith
specialneedslearnersfollowingtraining.Darrow(1999)notesthatthoughmusiceducators
regularlyextolmusiceducationforall,theystrugglewithdecidinghowinclusioncanbe
achievedandtowhatextenttheyarereadyorwillingtosupportinclusion.VanWeeldenand
Whipples(2014)followupstudybasedonGfeller,Darrow,andHeeden(1990)foundanoverall
increaseinpositiveresponsetoworkingwithstudentswithdisabilitiesbyinservicemusic
educators,suggestingthatmusiceducatorsfeltmorecomfortablewithadaptingcurriculumfor
studentswithdifferenceswhilestillmeetingtheneedsofallstudents.Somestudieshavefocused

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onattitudesandperceptionsofpeersofstudentswithdisabilities(e.g.Darrow&Johnson,1994
Cassidy&Simms,1999).Studiesliketheseregularlyaddressthepositiveandnegativeimpact
thatlabelscanhaveuponhowreceptivepeerscanbeinmakingandlearningmusicalongside
studentswithdisabilities.Thiscategoryofliteratureaddresseshowstudentswithdisabilitiesare
perceivedbyothers.Yet,theliteraturelacksspecificacknowledgementoftheexperiencesand
feelingsofstudentswithdisabilitieswhenbeingincludedinmusicspaces.
Athirdcategoryofdisabilityandmusicliteraturefocusesonmusiclearningandmaking
practicesofpersonswithdisabilitiesintheformofcasestudies.Manyofthesestudies
emphasizehowmusicalengagementcansupportothereducationandtherapeuticgoals(e.g.
Ellis,1997Jellison&Giner,1995McCord,2009Whippel,2004).Somestudiesinthis
categorydescribethemusicalinterests,abilities,personalprocesses,andfeelingsofpersonswith
disabilities,centeringmoreonthelivedexperienceofmakingandlearningmusic.Bell(2014)
discusseshisexperienceteachingguitartoanadolescentwithDownsyndrome.Bellidentifies
multipleadaptivestrategiesheattemptedtouseinhisworkandthewaythatregardlessofthe
strategiesperceivedassistanceinmakingtheguitarmoretraditionallyplayableforthestudent,
theydidmoretomarginalizethedesiresanduniquemusicalapproachtoplayingguitarforthe
student.Hullicks(2013)reportonhisworkwiththeAmplifiedElephants,amusicalgroupfor
peoplewithintellectualdisabilities,identifieshowimprovisationempoweredthemembersto
makemusicontheirowntermsandintheirownways.AbramoandPierce(2013)uncoverhow
blindstudentsnavigatedmusiclearningwhileataresidentialschoolfortheblind,notingthatthe
studentshaduniquewaysoflearning,communicating,andmakingmusicthatwerenotregularly
validatedintheirmusicinstruction.Theauthorssuggestthatwhatappearstobemissingin

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contemporaryresearchonmusiclearninganddisabilityisconsideringthemusicalperspectives
andpersonalpracticesofstudentswithdisabilities.Withthis,AbramoandPierceidentifyan
underexaminedareaincontemporaryresearch,openingupnewquestions.Beyondonly
examininghowothersopenupspacesforstudentswithdisabilities,howdostudentswith
disabilitiesopenupspacesfortheirowndifferences?Whatadaptationsdotheymakethatallow
themtomakeandlearnmusicinawaythatvalidatestheirabilitiesandmusicalpreferences?
Purpose
Thepurposeofthecurrentstudywastoexaminethemusicalpracticesofamusictherapy
rockbandinordertounderstandthemeaningsandimpactsofthosepracticesfortheyoungadult
membersoftheband.Questionsguidingthisstudyinclude:
1) WhatarethemusicalpracticesoftheyoungadultmembersoftheSmoothCriminals?
2) Whatdoesparticipationinthisbandmeantotheyoungadultmembers?
Relatedquestionsinclude:Whatrolesdotheadultassistantsplayintheband?Howdothe
practiceofthebandenableordisableyoungadultmembers?
TheoreticalFramework
Itakeasocialconstructivistapproachtodisabilityinthisstudyinmyuseofdisability
studiesliteratureinformedbythesocialmodelofdisability.Oliver,Sapey,andThomas(2012)
suggestthatdisabilityisnotanindividualproblem,Rather,itisasocialproblemconcerned
withtheeffectsofhostilephysicalandsocialenvironmentsuponimpairedindividuals(p.3).
Thesocialmodelforwardsaviewofdisabilitythatiscomprisedofsocialmarginalization
experiencedbypersonswithbodiesandmindsthatareconsidereddifferentfromasocially
legitimatednorm.Thisperspectiverejectsmedicalizedconceptionsofdisabilityasabiological,

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psychological,oranatomicalrealitywhichplacepersonslabeledasbeingwithdisabilitiesin
aninferioranddeviantstatuswhichmustbetreatedandfixed(Oliver,1996).Fromthis
perspective,disabilityresideswithinsocialspacesandsocialactionsratherthanwithin
individualbodies.
Thesocialmodelrestsuponadistinctionbetweendisabilityandimpairment.Impairment
isthelivedexperienceoffunctionaldifferencesrelatedtolimitationsinindividualphysical,
mental,andsensorysystems(Cameron,2014).Itisimportanttonotethatdisabilitystudies
theoristsuchasThomas(1999)andShakespeare(1996)suggestthatimpairmentshouldbeseen
asbothasocialconstructionofdifferenceaswellasapersonallylivedrealitythatexisteven
withoutsocialbarriersoroppression.Forexample,theyoungadultmembersinthisstudyall
havediagnosesofimpairmentsaffectingtheirphysical,mental,andsocialdevelopment.Someof
themembershavebeendiagnosedashavingDownsyndrome,whichisageneticimpairmentthat
causesdifferentphysicalcharacteristicssuchasshortstatureandlowmuscletoneand
cognitivecharacteristicssuchasimpulsivityanddelaysinlanguageandspeechdevelopment
(Accardo&Whitman,2011,p.145).Theseimpairmentsinphysicalandmentalfunctioning
impacttheyoungadultsintheirsocialandpersonallives.Disabilitystudiesscholarsidentify
disabilityastheexperienceofisolationandsubjectiontoinferiorsocialstatusduetoones
percievedordiagnosedimpairment.Forexample,someoftheyoungadultmembershavebeen
diagnosedwithAutismSpectrumDisordersandthislabelandthedifferencesintheirsocial
communicationandengagementmightcauseotherstoavoidinteractingwiththemand/or
relegatethemtomarginalrolesinsocialexperiences.

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Inthisstudy,asocialconstructivistapproachtodisabilityallowsfortheconsiderationof
howthepracticesandmeaningsofparticipationinthebandenableordisableyoungadult
membersbasedontheirimpairments.
Methodology
ParticipantsandSetting
TheSmoothCriminalsiscomprisedoffiveyoungadultmembersandfouradult
assistantsTheyoungadultmembersinclude:Tim,atwentysomethingwithaloveforthe
BeatlesandallthingsM
yLittlePonyAlana,anawardedathleteinhertwentieswhoisa
selfdescribedDisneyFanaticandprofessedBelieberAdam,aseniorinhighschoolandthe
bandsresidentjokesterJohn,astoicandskilledmultiinstrumentalistwhoenjoyschattingabout
MarvelsAvengersandS tarWarsandDylan,aneighteenyearoldwithdancemovestospare
whoisalwaysreadytogetdowntoMichaelJackson,BrunoMars,and,onoccasion,Ozzy
Osborne.Eachyoungadultmemberhasbeendiagnosedwithdevelopmentaldisorders(primarily
DownsyndromeorAutismSpectrumDisorders).Theyoungadultstakepartinthebandasa
formofmusictherapywherebyforthepurposeofdevelopingtheircommunicativeabilities
throughlearningandperformingpopularmusic.Theadultassistantsaretheretostructurethe
therapeuticnatureoftheexperienceandtoassisttheyoungadultmembersinlearningand
performingmusiconrockbandinstruments.Theadultassistantsinclude:KellyandKarenwho
arecertifiedmusictherapistsSam,amusictherapyinternandmyself,avolunteer.Theband
meetsweeklyforanhourtosocializeandrehearseatalocalmusictherapyclinicinasuburbofa
large,SouthwesterncityintheUnitedStates.Familymembersandcareprovidersdrivethe
youngadultmemberstoweeklymeetings.Thefamilymembersandcareproviderssharestories,

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telljokes,playgames,andevencrochettogetherinthehallwayoutsidethededicatedrockband
roomoftheclinic.
TheSmoothCriminalsareoneofsixmusictherapyrockbandshostedbythisclinic.The
clinicprovides:traditional,oneononemusictherapyinwhichmusicisusedsystematicallyby
trainedandboardcertifiedmusictherapiststoachieveindividualbehavioral,emotional,and
physicaltherapeuticgoalssmallgroupstherapyrelatedearlyintervention,addictionand
recovery,andhospiceprovidepreclinicalinternshipsformusictherapystudentsandcontinuing
educationopportunitiesforlocalboardcertifiedmusictherapistsandamusictherapyrockband
groupprograminformedbycommunitymusictherapy.Communitymusictherapyisanemergent
approachtomusictherapywhich,accordingtoRuud(2004),
issensitivetoculturesandcontexts,speaksmoreofactsofs olidaritya nds ocialchange.
Ittellsstoriesofmusicasb uildingidentities,asameanstoempowerandinstalla gency.
Acommunitymusictherapytalksabouthowtohumanizecommunitiesandinstitutions,
itisconcernedwithh ealthpromotiona ndm
utualcaring.(pp.12,italicsinoriginal)
Communitymusictherapyprograms,liketheoneinwhichtheSmoothCriminalsoperate,
arecharacterizedbycollaborativeandcontextsensitivemusicmaking[focusing]upon
givingvoicetotherelativelydisadvantagedinanycontext.Theparticipantsinterestin
andloveformusicisessential,butthesharedmusicmakingalsorelatestoconcernsfor
health,humandevelopment,andequity...[focusing]ontherelationshipsbetween
individualexperiencesandthepossiblecreationofm
usicalcommunity.(Stige,Andsell,
Elefant,&Pavlicevic,2010,p.5,italicsinoriginal)

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TheseconceptsgroundtheworkingenvironmentoftheSmoothCriminalsandthepracticesof
themusictherapistactingasadultassistants.
ResearchDesign
Casestudyqualitativeresearchdesignshapedthedatagenerationandanalysisofthethis
researchproject.Stake(1995)states,Casestudyisthestudyoftheparticularityandcomplexity
ofasinglecase,comingtounderstanditsactivitywithinimportantcircumstances(p.xi).
Barrett(2014)identifiesthemainaspectsofacaseas:(1)thesubjectorboundedcase,(2)the
objectororconceptualframework,(3)usingmultipledatageneralstrategies,(4)addressingthe
purposeclearly,and(5)describingtheparticularandcomplexaspectsofthecaseinadetailed
manner.Forthisstudy,IidentifytheSmoothCriminalsastheboundcase,consideringtheyoung
adultmembersprimarilywithanopenattentiontotheadultassistantsandthefamilymembers
whomakeuptheextendedfamilyoftheSmoothCriminals.Theobjectofthestudyistooutline
themeansandmeaningsofparticipationthroughasocialmodelofdisabilityinformed
theoreticallens.BelowIdiscussadditionalaspectsofthiscasestudyinlightofBarrettspoints,
firstidentifyingmyroleasresearcher.
RoleoftheResearcher
Itookontheroleoffullyparticipantobserverforthisstudyoveraperiodof18months.
FollowingmoreobservationalpreliminarystudyoftheSmoothCriminals,IwasaskedifIwould
liketovolunteerwiththegroupandbecomeoneoftheadultassistants.Thegroupwasof
particularinteresttomeasamusiceducatorsinterestedinpopularmusicanddisabilityandIwas
excitedtoconsiderwhatthepracticesemployedbytheyoungadultsandadultassistantsmight
meanformusiceducationalpractices.Throughoutmyworkwiththegroup,myactionswere

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informedbymymusiceducationbackgroundand,asaresearcher,musiceducationprovidedme
withapowerfullenstoreadtheexperiencesaroundme.Asavolunteer,Ihelpedyoungadult
memberslearntocreatetheirparts,playinstruments,andgenerallyassistedasneeded.There
weretherapeuticgoalsforthegroupandforindividualmembers,howeverIwasnotapartof
theirplanningandnotspecificallynotifiedofhowthemusictherapistswouldworktowardthese
goals.
DataGeneration
Triangulationistheuseofmultipletypesofdatagenerationstrategiesasameansof
corroboratingevidencefromdifferentsourcestoshedlightonathemeorperspective
(Creswell,2013,p.251).Inthisstudy,Iusedmultiplemeansofdatagenerationtoaffordsuch
triangulation:videorecordingsandfieldnotesofweeklyrehearsalsessionsandconcerts
semiformalandinformalinterviewswithyoungadultmembers,adultassistants,andfamily
membersandmyresearcherjournal.Itookfieldnotesofweeklyrehearsalsections,using
audiovisualrecordingsofthesessionsasameanstonotesightsandsoundsthatIwasunableto
attendtogivenmypositionand/oractivity.Theserecordingsalsoprovidingmewithasource
wherebyIcouldtranscribeconversationsthatIwouldnototherwiseremember.Ialsorecorded
andtookfieldnotesatthreeconcertsinwhichthethegroupperformed,therecordingproviding
backstagecommentaryandinformalconversations.
Iinterviewedtheadultassistantsandfamilymembersinpersonandusinga
freeresponsequestionnaireandheldsemistructuredinterviewswiththeyoungadultmembers.
Duetocognitiveandcommunicativedifferences,interviewingtheyoungadultmembersposeda
challenge.Becauseofthis,Ibuiltuponawarmupactivitywherethemembersinformallyasked

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eachotherquestionsduringagamethatresembledhotpotato.Forthis,IdevelopedtheHot
PotatoInterviewProtocol(AppendixA)andsuppliedthequestionstoalloftheadultassistants,
whohelpedwiththeinterviews.Itranscribetheyoungadultmembersresponsestothese
questionswhichoccurredduringrehearsals.Ingeneral,theseinterviewswithyoungadult
membersprovidedonlylimiteddataforanalysisandtheyoungadultsrarelyanswerseven
informalquestioningwithlengthyresponses.However,Imadeuseofbeforerehearsalmoments
andotherdowntimetoinformallyasktheyoungadultsabouttheirthoughtsandfeelingsrelated
totheexperiencesofbeingintheband,whichIwrotedowninfieldnotes.
DataAnalysis
Priortodataanalysis,Idevelopedorganizationalcodesrelatedtotheguidingquestionsof
thestudy.Iusedthesecodestoidentify:practicesusedbyyoungadults,statementsofmeaning
orpreference,rolesofadults,andbothenablinganddisabilityimpact.Ithenemployedaxial
codingtocombinecommonorconnectedideasuncoveredwithintheorganizationalcodes
(Saldaa,2012).Idevelopthemes,journalingmyunderstandings.Iusedthesejournalentriesto
informfollowupandclarifyingquestionsthatIaskedparticipantsasameansofmembercheck.
Findings

TheSmoothCriminalsbeganin2012asthesecondmusictherapyrockbandcreatedat
theclinic.TheoriginalmembersincludedDylan,Adam,andJohn,allofwhomwereinhigh
schoolatthetimeandinselfcontainedclassesonlyforstudentswithspecialneeds.Thethree
originalmembersselectedthebandsnamebasedontheiroriginalsetlistthatincludedonly
MichaelJacksonsongs,includingthesongSmoothCriminal.Afterayearofplayingtogether,
AlanaandTimjoinedthegroup.Alanawaslateraskedifshewouldliketojointhethirdrock

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band,whichalsohadfemalemembers,butsherefusedsayingthatshelikedherbandmembers
(accordingtobothAlanasgrandmotherandKelly).
Thegrouprehearseseachweekinadedicatedroomequippedwithelectricguitars,abass
guitar,keyboard,amplifiers,apublicaddresssystem,andadrumset.Inthissetting,youngadult
membersselectandperformallthemusicalrepertoirewhichrangesfrom:toppopularmusic
tunesfromartistslikeBrunoMars,JustinBieber,andTrainstandardsofrockandR&Bsuchas
songsbySurvivor,OzzyOsborne,andMichaelJacksonandsongsfromtelevisionandmotion
picturecartoonsfromF
rozen,TheLionKing,andM
yLittlePony:FriendshipisMagic.The
youngadultmembersplaydifferentinstrumentsoneachsong.Adultassistantsfacilitatesong
learningandperformingaswellasplayandsingduringrehearsalsandconcerts.Themusical
focusofthegroupisoncreatingidiosyncraticworkablecoversbuiltonthespecificabilitiesof
theyoungadultmembers.Typicalrehearsalsincludefourphases:(1)15minutesofopening
socialactivitiesandgamesledbythemusictherapiststhattargetspecifictherapeuticgoals(2)
15minutesspentselectingnewsongs,listeningtorecordings,selectinginstruments,andlearning
basicparts,(3)2025minutesdedicatedtorehearsingpreviouslylearnedsongsand(4)105
minutesforcleaningupandfortherapiststochatwithfamilymembersandcareproviders.
Withinthissettingandthroughthesepractices,threemajorthemesemerged:(1)young
adultmembersusedthebandasaspacetoplaywithandconstructpersonalidentity,(2)
participationinthebandaffordedtheyoungadultmembersandtheirfamily
members/caregiverswithaspaceforcommunityandmutualcare,and(3)adultassistantsacted
asembellishersandasafetynetforyoungadults.Iwilldiscusseachthemebelow,using

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vignettesandquotationsdrawndirectlyfromtranscriptsusingfieldnotesandjournalentriesfor
supplementaldetails
Theme1:ASpaceforIdentityPlayandSelfConstruction
Participationinthebandaffordsbandmemberswithchancestoplaywithidentities,
constructthemselves,andsharewithotherswhotheywanttobeknownas.Theyoungadult
membersoftheSmoothCriminalschallengedandplayedwithsociallyconstructedandapplied
identitiesduringbandrehearsals.Therehearsalandconcertsprovidedaspacetotryonandtry
outwhatIbarra(1999)referstoasprovisionalselves.Theyoungadultsdefinedthemselvesvia
socialexpressionsthroughbothwholesaleandselectiveroleexplorations.Someyoung
adultsemulatespecificpersons,adoptingtheirgesturesandcharacteristicsthroughawholesale
provisionalself.Othermembersconstructedprovisionalselvesmoreselectively,drawingon
stereotypicaldepictionsofrockinstrumentals,elementsofotherbandmemberspersonalities,
andsourcesfromtheirlivesoutsideofbandrehearsalandconcerts.Forexample,Dylanmimes
dancemovesthathelearnedfromwatchingBrunoMarsandMichaelJackson,usingfacial
expressionsandgesturesthatareamixofthetwoandtheydidntappearaspartofhisnormal
personalrepertoireatthebeginningofthestudy.Adam,theperpetualjoker,becomesAdamthe
rockguitargodwhenhehasanelectricguitarorbassguitarstrappedtohimself.Atconcerts,
Adamliftshishandintheairdisplayingthedevilhornssignwhichhasbecometheinternational
signofrockandsticksouthistonguelikeGeneSimmonsinbetweenstrums.Theyoungadults
alsoprovideeachotherwithmodelsforprovisionalselvesaswhenafterAdamtriedouthis
rockgodprovisionalselftohighpraiseandlaughterfromtheentiregroup,Alanasturnonthe
guitarcamewithsimilar,ifsubtler,rockgoddessactions.Johnistheonlymemberwhodidnot

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showanyevidenceofplayingwithprovisionalselves.InstrumentscomeeasytoJohnandhe
takeseachchancewithanewinstrumentastimetolearnandplaymusic.Yet,Johndoesnotfully
makeuseofchancestochatwithothersabouthisinterests.
Johnandtheotheryoungadultmembersturnconversationaltimesintochancestoshare
detailsoftheirlives,abilities,andpiecesoftheiridentitieswithothers.Ratherthanbeingknown
primarilyinassociationwiththeirdiagnosticlabelofDownsyndromeorAutismSpectrum
Disorders,thebandmembersareaffordedchancestopresentotheraspectsoftheirlivesand
selves,aidingtoamorecomplexandnuancedportrayaloftheirlives.Anexampleofthisis
demonstratedinanopeningmomentofrehearsaldepictedbelow:
John,oneoftheyoungadultmembers,joinsourcustomaryopeningsocialcirclewhile
AdamsharesajokewithDylanwhoisshowingoffsomenewdancemovesinthecenter
ofthegroup:Knock,knock,Whosthere,Tacoman!Meanwhile,Alana,another
youngadultparticipant,chatswithSam,themusictherapyintern,aboutherlatest
athleticawardandhowexcitedsheisaboutgoinghometogroomherpuppy.Tim,
anotheryoungadultparticipant,turnsandtalkstoKarenandIaboutanupcoming
businessmergerbetweenDeltaandAmericanAirlines.Really,whatnamewillthey
have,Karenasks.Delta!Timrespondsashebeginstolaugh.Areyoumessingwith
usIaskasTimlightsup.Ayesisbarelyaudibleinbetweenhisgiggles.Ashegains
hiscomposure,hesays,Imgoingtostudylawatthecollegesoon,businesslaw:
mergers!JohntugsonKarensshirtandburstsintotellingherallaboutthelatest
Avengersmovie.

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Theseopeningmomentsofabandgatheringareindicativeofthefoundationaldedicationto
openingspacesthroughandaroundmusicformemberstobuildtheiridentitiesandenacttheir
personalsensesofagency,characteristicscentraltocommunitymusictherapy(Ruud,2004).
Throughtheseexperiences,theyoungadultmembershavechancestoconstructidentitiesthatare
notdeterminedbyorreliantupontheirimpairmentsordiagnoses.Suchexperienceshave
impactedtheirlivesoutsideofband.Timsmothershared,
Somethingsdifferentsincethefirsttimehewasonstage.Hesnotjustmylittleboywho
hasspendsmostofhisdaysindifferenttherapysessionbecausenowhesarockstarto
me.Hisspeechhasbecomemorefluid.Helovestosingalongtotheradionow
(somethingherarelydidinthepast).
TheexperienceparticipatinginthebandhasnotonlygivenTimchancestoplayaroundwithand
constructhisownidentitywithinrehearsalsandconcertsbuthasalsoimpactedhowhismother
knowshim.
Theme2:TheBandasaSpaceforCommunityandMutualCare
Theexperienceofbeinginthebandaffordstheyoungadultmembersaspacetodevelop
andexperiencecommunityinandaroundmusic.Thevignettebelowdemonstratesatypical
sceneinwhichthemembersbuildandrelyupontheirsenseofcommunityduringmusicmaking.
ThebandstartedplayingAllisLovewithAlanaondrumsassistedbyKaren,Dylan
andTimonkeysalongwithSam,andbothJohnandAdamsingingwhileIplayguitar,
andKellyplaysBass.TherewassomethingoffandAlanacouldntfindthebeat.Adam
turnedaroundandcheeredheron,clappinganarrhythmictimeouttoher.Dylanfocused
asJohnsangthefirstverse.Timpoundedawayonthekeysinawaythatbarelykeptwith

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thegroovetherestofthegrouphadfinallyestablished.HesmiledatDylanandSam
beforegivingathumbsuptoAdam.Johnturnstomeandinthemiddleofphrasessays,
singwithme.Thegroupbarelykeepsittogethermusically,butattheend,theyall
laugh,cheeringeachotheron.
Manyoftheyoungadultmembershavebecomeclosethroughoutmytimewiththegroup
andmostaresupportiveofeachother.Dylanisregularlythecheerleader,thoughintheexample
Adamtookontheduties.Throughlearningandplayingdifferentinstrumentsanddifferentsongs,
thegroupmembershavechancestobuildindividualmusicalcompetenciesandexperienceasafe
spacetoengagewiththeirpeers.Manymemberscheereachotheronandcelebrateindividual
andgroupsuccesses.Thiswasmorethanevidentduringabackstagepeptalkbeforea
performanceatoneoftheirconcerts.
Ooh,smooth,weresmooth,Dylannoted,Weregonnarockit!Adamansweredan
excited,Yeah!AlanaoffereduphighfivestoeveryonewhileTimbuzzedwith
excitement.Asthegroupiscalledtothesideofthestage,Timlookedattheotheryoung
adultsandsaysinaenthusiastic,yetlowgrumble,Letsrock!
Thegroupmemberssupporteachother,sharingtheirexcitementandprovidingmutualsupport
priortosteppingontoastageatapackedvenue.Attheendoftheirsetthegrouphug,allexcept
Johnwhowandersoffstage,faceadornedwithafullsmile.
Thissenseofcommunityandmutualcareisalsovisibleasthegroupgatherswiththeir
familiesandcaregiversinthehallwayoutsideoftherockbandroom:
Alanacheerfullygreetseachmemberastheyarrive.Dylangiveshugsorfistbumpsall
aroundbeforesittingdownforhiscustomaryprerehearsalPoptart.Timenters,smiles

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andbeginstoaskeveryonehowtheirdayhasbeen.Adampopsthroughthedoor,guitar
caseslungoverhisshoulder.Hesnickersbeforesaying,Dylanwithamelodicupward
major3rd
lilt,insomewhataccusatorymanner.ThetwohugbeforeKellywalksinsaying,
wecangoin.AlloftheyoungadultmemberssaveJohnwhoarrivesperpetuallylate
duetootheractivitiesstandupandwalkhurriedlytowardthedoor.Oh,boy,ohboy,
Dylansaystonooneinparticularashetrailsbehindtheothers,myband!
Manyoftheyoungadultsusewordslikemy,ourandwetodescribetheband,implyinga
senseofindividualandsharedownershipofthegroup.
Yet,Johnistheonlymemberwhodoesnotsharesimilarexpressions.Thiscouldbedue
tohispersistentlatearrival,oftenmissingthefirst15minutesofthehourrehearsalswhichisthe
timededicatedtosocializingandcommunication.Yet,Johnsmotherseemstorevelinthe
communitythatextendsbeyondtheimmediategroupandintothehallwayduringrehearsals.She
andAlanasgrandmothertradecrochettechniquesandchatabouttheirdays,oftenaskingDylan
andAdamscollegeagedcaregiversabouttheirtripsandclasses.Alanasmothernotedoneday
duringaninformalchatthat,
Wevegotasmuchofafamilyouthereastheydointhere[pointingtowardtherockband
room].Ijustlovethesepeople[pointingacrochetneedleattheotheradultsinthe
hallway].Ilovehearingabouttheirdays,theirproblems.Wehavefunsittingtogetherat
concertsandgoingouttoeatafterwards.
Theseverbalandobservableexpressionsofcommunityandcareconnectwiththecommunity
musictherapytheoreticalfoundationwithinwhichthegroupoperates.

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Itisimportanttonotethatnotallyoungadultmembersseemtosharethesamefeelingof
communityandcare,specificallyTimand,toagreaterextent,John.Timistheoldestandnewest
memberofthegroup,havingbeeninthegroupfortwoyears.Timappearstofeellikeapartof
thecommunity,thoughheneververbalizesittoagreatextent.John,regularlyhangsatthe
peripheryofrehearsalsandsocialengagement,oftenrepeatingthewordstocartoonepisodesand
moviesongstohimself.Johnistheonlymemberwhohasbeendirectlylabeledasbeingonthe
Autismspectrumandonemightwondertowhatextenthissocialandcommunicative
impairmentsarethecauseofhismarginalexperiencesinthegreaterSmoothCriminals
community.
Theme3:Adaptation,Accommodation,andAdultAssistance
ThepracticesusedbytheyoungadultmembersoftheSmoothCriminalsaregroundedin
adaptationandfacilitated,inthetruestsenseofmakingeasier,bytheactionsoftheadult
assistants.Usingslides,stickers,andotheradaptations,theSmoothCriminalsdonotrelyona
singleapproachtocreatetheirpartsandplay.Oneapproachmightworkforonememberonone
songforoneday,butneverworkagain.Assuch,adaptationintheSmoothCriminalsisa
constantlychangingprocess,rarelymaterializingthesamewaytwice.Thissectionincludesa
descriptionofsomeofthecommonadaptationsandthewaysinwhichadultassistantsfacilitate
thegeneralpracticesoftheyoungadults.
Commonadaptations
AccardoandWhitman(2011)defineadaptationasTheextenttowhichanindividual
group,orcommunitycopeswiththefluctuatingdemandsofdailylife(p.8).Ingeneralspecial
educationparlance,adaptationreferstowhatmanycalladaptiveequipment,whichareAwide

LETSROCK

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arrayofdevicesthatprovideproperpositiontofacilitatemotorperformanceandindependence
(p.9).FortheSmoothCriminals,adaptationoccurswhenyoungadultschangeorcreatenew
waysofmakinguseofinstruments.Forexample,youngadultswouldregularlypositionsguitars
andthebassontheirlaps.Thispositionwouldbetterallowthemtofrettheinstrumentsinaway
similartohowonewouldplaykeyboardorusechordingdevices,slides,andevendrumsticksto
holddownstrings.Mostoftheyoungadultsbeginlearningtheirpartsonguitarsandbassinthis
way,oftenabandoningthepositionandtransitioningtoamoretraditionalpostureastheybecome
comfortablewiththeirparts.
Theyoungadultsalsoadaptedtheirparts,changingwhatandhowtheywouldplayeven
duringperformances.Whenmostoftheyoungadultslearneddrumparts,theywouldchangethe
specificdrumsandlimbstheyusedtoperformthepatterns.Oneday,ayoungadultmightplaya
basssnarepatternusingthebasspedalandtheirlefthand.Anotherdaythatmemberwouldplay
thepatternusingthelowtomdrumforthebasssoundwithrightarmtostrikethetomandthen
twisttheirbodiestousethesamearmtohitthesnare.Also,theyoungadultsadaptedrhythmsof
theirpartsinanunconsciousmannerwhichappearedtokeepwiththeirowninternalresponse
time.Forexample,DylanshiftedthesyncopatedrhythmofBeatItintoastraighterpattern
whenplayingguitar.Thischangeimpactedtheentiregroupandhowtheyplayed,allowingfora
uniquecoverofthisgroupfavoritethatwasentirelytheirown.
Adultassistantsactasembellishersandprovideasafetynetforyoungadults
TheadultassistantsfacilitatethepracticesoftheyoungadultmembersoftheSmooth
Criminals,scaffoldingtheirlearningandplayinginrehearsalsandconcerts.Thebandbelongsto
theyoungadults,inthefullestsense.Theymakethedecisionsandtheydisplayasenseof

LETSROCK

RATHGEBER21

ownership.However,theadultassistantsacttoensurethatthedecisionsandplayingworksothat
theexperienceisenjoyableandmotivatingfortheyoungadults.Forinstance,theadultassistants
playinstrumentsalongsidetheyoungadultmembersduringrehearsalsandconcerts,takingon
theroleofembellisherstothecoresoundprovidedbytheyoungadults.Theadultassistantsplay
andoccasionallysingalonginordertoprovideafoundationfortheyoungadultstofeel
comfortableplaying,makingmistakes,andtryingnewthings.Samstateditthiswayinan
interview,werejustasafetynetofpeoplewithmusicaltraining.Also,becausetheyoung
adultmembersswitchinstrumentsfromsongtosong,theadultassistantsprovidebasiccoaching
forinstrumentssothatthegroupcangetintothemusicasquickaspossible.
Theadultassistantsbringtheirownadaptationsstrategiesfortheyoungadultmembersto
use,suchasacolorcodednotationsystem.Tervo(2001)suggests,basedonastudyof
adolescentsinamusictherapy,thatusingcolorwordsandrelatedvisualsratherthanmore
complexjargoncanaddadditionallayersofsupportandallowforgreatersuccessinrockband
settings.Theadultassistantsapplycolorstickerstokeys,frets,strings,anddrumsasanotational
shorthand.Whilelearningsongsandduringconcerts,thesecolorsallowtheadultassistantsto
quicklyidentifyaconcretereferencefortheyoungadultbandmemberstolocateandplayon
theirinstruments.Theyoungadultscanoftenfigureouttherhythmicaspectoftheirparts,butthe
colorsallowtheadultassistantstodrawontheirauralskillstohelpingtheyoungadultsenter
intomusicmakingquickly.ThecolorcodealsoactsasamemoryaidforJohn,Dylan,andAlana
whosometimesrequesttheirpartstobewrittenratherthanspokenbytheadultassistants.
Perhapsthemostimportantaspectoftheworkoftheadultassistantsistheirflexibility
andregularwillingnesstofollowtheleadoftheyoungadultsinshapingthemusicalexperiences.

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Whencolorcodesdonotwork,theadultassistantssettheseaside,craftingsomethingelseto
scaffoldtheplayingoftheyoungadultbandmembers,oftenusingtheirabilitiesandtheirmeans
ofcommunicatingasthebasisfortheadaptation.Also,theadultassistantsrespondtothe
musicalcues,ideas,andprocessesoftheyoungadults,asdemonstratedinthefollowingvignette:
Whatbeatdoyouthinkwillgowellwiththissong,Tim?Karen,oneofthetherapists,
asks.Timgrabsdrumsticksandwithapunchlikemotiontriesoutafewpatterns.Assoon
ashebeginstorepeatapatternofhightombassdrumsnarerest,Karenjoinshimby
playingsteadyeighthnotesonthehighhat.Atfirst,Karenactslikeametronome,
attemptingtobringoutasenseofsteadybeatinTimsplaying,whichphasesinandout
oftime.Aswetrythesongasecondtime,Timsettlesonabasssnarepattern,stillwitha
phaselikefeel.KareneaseshermetronomicplayingandstartstofollowTimabitmore.
Theotherplayersfollowaswell,andwereinthegroove.Itsalittlemessy,butthereisa
differentfeelhere.
Inthisvignette,Karendidnotsuggestabeatpatternforthesongbut,instead,askedTimwhathe
thoughtwouldfitbest.Timofferednotonlywhathethoughtwouldsoundgoodbutalsowhathe
couldphysicallyplay.Karenvalidatedhismusicalofferingandeventuallyhissenseoftime.
RatherthancontinuetoimposeabeatthatthoughitmighthavesoundedbettertoKarendid
notalignwithTimsinternalbeat,KarenyieldedtoTim,givinghimcontrolwithinhisownband.
Thereweretimeswhentheadultassistantsextendedtheircontrol,especiallyasthegroup
cameclosertoconcertperformances.Duringthesetimes,theyoungadultsappearedtotrustthe
adultassistantsenoughtofollowtheirleadinthesakeofmakingagreatperformance.Theadult
assistantswouldrequestthebandtoplaysongsoverandoveragain,topracticespecificparts.

RATHGEBER23

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Yet,theyoungadultscheerilyrehearsedthesongs,withTimstating,Again!Concertsnext
week,soexcited.Again!Thisstandsinrelieftothegeneraldisinterestthebandmembers
showedatrepeatingsongsoryieldingtheircontrolduringtheearlierstagesoflearningsongs.
Discussion
Beinginthebandhasmultiplemeaningsforeachmember.ForDylan,theexperienceof
participatinginthebandmeansthathehasaplacetoshowoffhisdancemoves,playdrums,and
makemusicwithhisfriendAdam.ForAlana,theexperiencemeanshavingchancestobeloud
andtoexpressherselfwhilegettingtogoofaroundwithothersherownage.ForTim,beingin
thebandmeanshavinghisfirstchancetoengageingroupmusicmaking,andashismother
suggested,asettingtosingandunleashhisinnerrockstar.ForAdam,thebandisagroupof
friendswithwhomtogoofaround.ForJohn,thebandismoreofaspacetolearnhowtoplay
instrumentsandtogainexperiencesthathecansharewithhisparentsatthedinnertable.For
themall,beingintheSmoothCriminalsgivesthemaccesstoamusicalexperiencewitha
musicalsafetynetprovidedbytheadultassistantsandastagetopresentthemselvesoninaway
thatowesmoretowhotheywanttobeenknownasthanitdoeswhoothersassumetheyare.
ThisstudysoughttoexplorethemeansandmeaningsofparticipationintheSmooth
Criminalsforyoungadults.Fortheyoungadults,thepracticesaredeeplyconnectedtotheir
abilitiesandachancetoadaptinstruments,techniques,andmusictofitthoseabilities.Young
adultmembersappearempoweredtochangetheirmusictofittheirbeing,ratherthanbeing
beholdentotechniqueorspecificitiesofarecordingthatinspiredtheirwork.Theirideas,
choices,andabilitiesmatteredinthebandasdidtheiridentities.Fortheyoungadults,
participationinthebandmeanstheyhaveaplacewheretheycanconnectwiththeirfriends,talk

LETSROCK

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abouttheirlives,tryoutidentitiesastheytryoutinstruments.Inthisspace,theycouldconstruct
andreconstructthemselves,unencumberedordisabledbytheirdiagnosticlabelsandtheimplied
identitiesthataccompanytheselabels.Yet,theyoungadultsareaffordedthisspacefor
communityandidentityplayb ecauseoftheirdiagnosticlabelsofimpairment,labelsthatallow
theyoungadultstoreceiveandfundmusictherapythroughMedicare,Medicade,orprivate
insurance.Inthisway,thelabelsaffordyoungadultsuniqueexperiencesandserviceswhilealso
constrainthemduetosocialexclusion.
Theworkoftheadultassistantsiscentraltoprovidingthesituationsthatenabletheband
memberstomakemusic,developcommunity,andplaywiththeiridentities.Theadultassistants
rolesasembellishershelptocreateapleasingauralexperiencefortheyoungadultmembers,
makingtheirworkfeelandsoundmorecomplex.Theadultassistantsalsoprovideasonicand
personalsafetynetfortheyoungadultstoplaymusicandexploretheinstrumentsandsongsina
waythatvalidatetheirabilities.Theadultassistantsencouragedexplorationandselfadaptionto
partsandinstrumentsastheyoungadultmemberscreatedandlearnedtheirparts,followingtheir
leadasthesongsmorphedintonearlynewmusicalworks.Enabledtoselfadaptandgiven
controlovertheexperienceattheseearlystagesseemedtofostertrustbetweentheyoungadults
andadultassistance,trustthatallowedtheadultassistantstoexertmorecontrolinorderto
preparethegroupforanenjoyableperformanceforthebandandtheiraudience.
Allofthisoccurredwithinamusictherapysetting,withmusictherapistswhorarely
explicitlydiscussedwhatandhowtheyoungadultmemberswerelearning.Kellystatedthatshe
felt,theyarelearningalotaboutplayinginstrumentsandbeinginaband,yetthiswas
secondarytohertherapeuticconcerns.Also,thebandsettingisanexclusiveone,admittingonly

RATHGEBER25

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youngadultsandteenswithdiagnosedimpairmentlabels.Assuch,themusictherapistsdidnot
regularlydiscussinclusionorinclusivestrategies.Yet,asamusiceducatorinterestedindisability
andinclusion,Icouldnothelpconsiderabouthowsomeofthepracticesoftheyoungadultsand
adultassistantsinthebandmighttranslateintomusiceducationsettingsinawaythatmight
enablemusiclearnerswithphysical,cognitive,andsocialdifferences.
ImplicationsforMusicEducation
IheedStakes(1995)cautionforresearcherstofocusontheuniquenessofacaseandto
avoidgrandgeneralizations,especiallyinnotingthatthefindingsofthisstudyrelatetoa
particularmusictherapyrockbandandmayhavelittlethatconnectstomusictherapyatlargeor
thepracticesofmusiceducationinitsmultiplesettings.Inthissection,Ihopenottogeneralize
theparticularitiesofthecaseoftheSmoothCriminalstomusiceducationpractices,butto
considerhowthefindingsofthisstudymayhelpmusiceducatorsandresearchersapproach
disabilityandinclusivityfromadifferentperspective.
First,thepracticesofthebandarenotrootedinadesiretodeveloptechnique,musical
proficiency,ornotationalliteracy.TheSmoothCriminalscometogethertomakemusicandto
worktowardextramusicaltherapeuticgoalsofcommunicationandsocialization.Musicisused
asatoolimpactnonmusicalaspectsoftheyoungadultslives,apowerthatmusiceducation
researchers(e.g.Ellis,1997Jellison&Giner,1995McCord,2009Whippel,2004)havelauded
asarationaleforinclusionoflearnerswithdisabilitiesinmusiceducation.Also,themusical
experiencesinthebandgivestheyoungadultschancestocollectanddisplayvaluedcultural
capitaltothepublic.Throughperforminginthepublic,theSmoothCriminalsmightchallenge
theaudienceassumptionsaboutwhatpersonswithdisabilitiescando.Thismayhavethe

LETSROCK

RATHGEBER26

powertoimpactsocialchangethatmakesoutsideofthebandsocialexperiencesoftheyoung
adultsmorecaringandinclusiveforthem,whichisaprimaryconcernofcommunitymusic
therapy(Ruud,2004Stige,Andsell,Elefant,&Pavlicevic,2010).Inthesesituations,musical
experiencesareconduitsforyoungadultstodeveloptechnique,allowingthemtocontinue
makingmusicthattheywanttomakeitandtohavetheuniqueexperiencesaffordedby
participationintheband.Inwhatwaymightshiftingfocusfromdevelopingoftechniquetoward
agreaterconcernofthenonmusicaloutcomesthatmusicmakingcanallowforhelpmusic
educatorsfosterinclusivepractices?
Second,theactivityoftheSmoothCriminals,specificallytheflexibilityoftheadult
assistants,demonstratesarelianceuponwhatGalloway,Nudd,&Sandahl(2007)mightcallan
ethicofaccommodation.Thisethicisa
meansofincludingeveryonewantingtoparticipate,oftennecessitatingthatthemajority
makedifficultchangesinitspracticesandenvironment...[includingthe]politicsof
listeningaswellaspoliticsofspeaking,...makingroomfordifference,lettinggoof
preconceivednotionsofperfectibility,andnegotiatingcomplexsetsofneeds.(p.229)
Theadultassistantspracticethepoliticsoflistening,allowingtheyoungadultstospeakverbally
andthroughtheiractions.Theempowermentforselfadaptiondemonstratedinthepracticesof
theSmoothCriminalsmaderoomfordifferencesinabilityandinterests.Followingtheleadof
theyoungadultsinradicallyalteringthemusicalmaterialsandevenapproachestoelements,like
inTimssenseofbeat,aregroundedonanabilityoftheadultassistantstoletgoofsomeof
theirpreconceivednotionsaboutpopularmusicperformanceandinstrumentaltechnique,
allowingthemtomorereadilyvalidatetheabilitiesandneedsoftheyoungadults.Inwhatways

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mightrelyingmoreonanethicofaccommodationaslivedthroughthepracticesoftheSmooth
Criminalsallowmusiceducatorstoadapttheirpractices,teachingstrategies,andeducational
settingstomakeroomforlearningdifferences?Inwhatwaysmightsuchanethicallowfor
musiceducatorstoconsiderhowcertainpracticesmightdisablelearnerswithdifferenceswhile
allowingthoseeducatorstobeopentouncoveringandconstructingenablingpractices?
Ingeneral,mystudyoftheSmoothCriminalsrepresentsonewayofaddressingthecall
madebyJellisonandTaylorandforwardedimplicitlybyBell(2014)andexplicitlybyAbramo
andPierce(2013)tobeconsciousofandseektoincorporateintomusiceducationresearchand
practicetheperspectivesandexperiencesoflearnerswithdisabilities.Thisstudyislimitedin
thatitexaminesaparticularcasegroundedinmusictherapypracticewhichcanbeverydifferent
frommusiceducation.However,followupcasestudiesofmusiceducationrockbandthatare
exclusivetostudentswithdevelopmentaldisabilitiesorthataremoreinclusivemayhelpto
forwardanothernarrativeinmusiceducationliteraturethatinspectsthemeanings,unique
perspectives,andparticularexperiencesthatstudentswithdisabilitieshavewithinmusic
educationsettings,leadingtonewnarrativeswhichmayinformamoreinclusivemusic
education.

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