INCLUSION IN THE CLASSROOM: A STUDY ON DISABILITY AND MUSIC EDUCATION 1

Inclusion in the Classroom:

A study on disability and music education

Mikayla Bushkar

James Madison University

INCLUSION IN THE CLASSROOM: A STUDY ON DISABILITY AND MUSIC EDUCATION 2

Throughout my time as a student in the music education system, I have noticed discrepancies

among teachers and how they approach students with disabilities. Some teachers make every effort to

include these students but make no adaptations for them, some teachers adapt, and some do not include

these students at all. I am interested in how research reflects the current trends on the music education

system and disability.

Rationale:

Inclusivity in the music classroom is a topic very near to my heart, specifically inclusion of

students with disabilities. Last semester, my practicum involved designing instruments for students with

disabilities so that they could engage in musical learning as much as possible. While observing

classrooms for this practicum, I discovered that educators can have a difficult time including students

with disabilities simply because they struggle to find adaptations for classroom activities. My experience

shows that this phenomenon does not occur for a lack of trying but perhaps for a lack of knowledge on

how to do better. I would like to research why this problem occurs and, more importantly, how to do

better for our students.

Students with disabilities have the right to engage in music education as much as any other

student, and we, educators, should be actively trying to engage them as much as possible. In order to do

this, we must know how to adapt and be inclusive in the classroom. I believe that students with

disabilities will benefit from this research, as they will feel that they are in a safe and secure environment

once they feel included. I also feel that the field of music education will benefit from this research; music

can sometimes feel like an isolating subject due to the incredible amount of ableism and competition. For

students with disabilities, isolation is a large issue, as their impairments are not always correctly
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addressed; for example, some students can’t read music due to vision problems, can’t play their

instrument in a traditional manner due to physical limitations, or can’t stand on a riser due to leg braces,

and their instructors do not make adaptations to meet their needs, which leads to isolation. My goal is to

learn how to adapt my teaching to these impairments to make the music classroom a safe haven for all

involved.

Hammel and Hourigan (2017) talk often about the difference in fairness and equality; equality

meaning that everyone is granted the same opportunity and fairness meaning that everyone is given the

chance and the resources to succeed at the same opportunity. For example, equality is telling two students

to touch the ceiling, though one is 5’1” and the other is 6’1”; fairness is giving the smaller student a

ladder to stand on and then asking them both to touch the ceiling. I would like to learn how to give each

student a fair shot in the music classroom.

Research Questions:

What is the current model of disability that is focused on in the music classroom?

How do I best serve students with disabilities in the music classroom?

Review of Literature:

My research has revealed several overarching themes, one of which is the debate between the

medical model of disability and the social model of disability. The medical model defines disability as a

physical impairment, i.e. missing a leg or being blind. The social model of disability defines a disability

as being brought on by society; a person may have a physical, intellectual, or emotional impairment, but it

does not become a disability until society makes it one. For example, a person who uses a wheelchair has
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a physical impairment. However, this does not become a disability until they arrive at a building without

wheelchair access; they are now un​able​ to enter the building.

The social model of disability was a very large theme in my research, as music education has

many ties to it due to the extreme presence of ableism. There was an example in my research of an

incredibly capable baritone, Thomas Quasthoff, who was a thalidomide survivor. He had extremely short

arms and was rendered unable to play a musical instrument. Thus, when he applied to a German

conservatory, he was denied due to being unable to pass the piano proficiency section of the audition.

Though he was a capable singer with a physical impairment, this conservatory made him a person with a

disability by denying him access ​for​ his physical impairment. The conservatory made no effort to adapt

for this man; they simply denied him access (Lubet 2009). This is only one example of the failures present

in music education.

Another large takeaway from my research was that educators must constantly self-reflect. Many

articles and studies asked the question, “am I doing something to make this student with an impairment a

student with a disability?” Most of my research reveals that the answer is yes and that the best way to

solve this issue is to identify it and adapt.

Lubet (2009) asserts that disability studies in music education should be interdisciplinary,

qualitative, and accessible. Lubet suggests that quantitative research is, “oppressive to people with

disabilities and contrasted with the liberatory power of sharing stories.” Lubet begins by reminding the

reader that creating and sharing music is seen in the Western world as a talent, and that when we consider

musical capability a talent, we give value to and rank individuals accordingly. This means that when a

person with an impairment cannot perform in the same way as a person without an impairment, they

become a person with a disability who is ranked lower among musicians. Lubet pays extreme attention to

the fact that quantitative study in disability in music education is rare, due to the fact that persons with

disabilities are either forced to quit music or forced to hide their disability due to the shame and ableism
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associated with music (128). Lubet concludes by stating that more research must be done in the field of

disabilities studies in music, and it must be done in new ways. Lubet also stresses that educators must

adapt for students or their impairments and disabilities may never come to light, and thus, may never get

the research they deserve.

Abramo (2012) discusses the current trends and impacts of disability in the music education

classroom. He, like others, compares the medical model of disability to the social model and asserts that

the social model is more prevalent in the area of music education. Abramo suggests adaptations through

examples such as music braille for those with visual impairments or specially designed instruments for

those with physical impairments. Abramo also emphasizes the importance of disability and language; the

old trend was disability-first language, such as, “the autistic child can play piano.” The current trend is

person-first: “the child with autism can play piano.” He suggests that the trend is moving toward not

mentioning the disability at all: “the child can play piano.” He also suggests self-reflection; he says to ask

yourself, “Do any of my lessons or classroom materials contain offensive language or disabling

activities?” He also suggests that it is not enough to adapt by fulfilling the needs explained in a child’s

IEP; we must continuously work on adapting to make a child’s education as inclusive as possible. He

maintains the idea that viewing disability through the social model gives teachers a new and fresh

perspective because they will see disability and impairment as different entities.

Murphy and McFerron (2016) studied 27 pieces of literature, published between 1991 and 2014,

on the topic of social connection and musical participation in young people with intellectual disability.

They concluded that over the last ten years, the idea of reporting on the child’s voice has become more

prevalent. Even for young people who lack communication skills, their “voices” are being recording

through meticulous description of their interactions within studies. They also concluded that the focus

remains on the medical model of disability and that there is a discrepancy between how young people

with intellectual disability see their own social interactions versus how those around young people with
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intellectual disability see their social interaction. They suggest that there remains a need to embrace

differences rather than “normalcy” in order to create an inclusive environment in which students of all

abilities can thrive musically.

Tiszai (2016) focuses on the exclusion of persons with disabilities and how to include them in

social and musical settings. The article analyzes a workshop done with an orchestra made up of persons

with disabilities. The workshop involves the orchestra playing with persons without disabilities and

focuses on that interaction. Tiszai explains that these interactions are generally around 90 minutes but

should be even longer due to the process of the workshops. Firstly, participants without disabilities are

prepared for how to interact with persons with disabilities, specifically severe disabilities. Tiszai

recognizes that many people who do not have experience with disability become overwhelmed,

embarrassed, and awkward around people with disabilities. Therefore, one of the main focuses of these

workshops is to prepare participants for how to react and interact with those who have disabilities.

Tiszai also explains that the workshops employ the consonante method, meaning that music is

over simplified to ensure success for all participants. Musical instruments are designed in a way that

makes them easily accessible physically and also musically; for example, some instruments are tuned in a

way that they only play the interval of a perfect fifth. This means that a participant with no musical

background can feel successful and musical without fear of embarrassment or failure. Tiszai concludes by

stating that persons with disabilities are often excluded not because of ill-intentions but because of lack of

knowledge and understanding. People without disabilities must be given the opportunity to interact with

and understand people with disabilities in order for inclusion to move forward. The workshops described

in this article provide this opportunity and are beneficial to all involved.

Dobbs (2012) analyzes 17 studies done between 1990 and 2011, with focus on the four types of

disability models: the medical model, the social model, the theory of complex embodiment, and the

cultural model. As several of our previous researchers discovered, the prevalent model is the medical
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model. Dobbs also addresses the prevalence of ableism in the field of music and how the medical model

of disability does not provide enough thought as to how to adapt our music education system. Dobbs

urges the musical community to change perspectives and to look at disability as a social construct, as it

will force us to rethink our approach to disabilities in music education.

Bell (2017) interviews Patrick Anderson, a paralympian as well as a musician, about his

experience as a person who uses a wheelchair - both as an athlete and as a musician. Bell focuses on the

fact that Anderson does not necessarily qualify or identify as disabled. Anderson points out that when he

plays wheelchair basketball, he is a perfectly capable athlete who is on the same level as his teammates

and competitors; Anderson also asserts that the same is true for him as a musician. Anderson tells Bell

that he becomes a person with a disability when he goes to a musical performance and is unable to find an

accessible parking space or an accessible entrance; this is another reference to the social model of

disability. Bell asserts once again that the medical model is, however, the model focused on by the

musical community and music education. He also suggests, like our previous researchers, that the musical

community tends to force people with disabilities out of the spotlight and thus, they seem like a rare

breed.

Bell again asserts that music educators play a large role in creating students with disabilities as a

result of not adapting their teaching (112). He urges that educators must change their way of thinking to

be inclusive of persons with disabilities. Bell, like Abramo (2012), addresses the issue of disability and

language. Bell insists that people may have impairments, but they do not necessarily have a disability; the

medical model of disability automatically assumes a person ​does​ have a disability based on their medical

status. Bell also addresses the stigma associated with describing persons with disabilities; he mentions

that the current trend is to move away from disability-first language and to move into person-first

language. Bell concludes by addressing the idea of social confluence, which maintains that disability
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exists in a moment in time but can be changed through adaptation; the goal of music education should be

ability.​

Hochbaum (2010) explores the representation of people with disabilities in music in different

decades: 1987, 1997, and 2007. Hochbaum’s research revealed that language in music involving disability

increased over time and that the language was insensitive, disabling, and othering. Hochbaum also found

the presence of the medical model to be profound, though she asserts that the social model is more

progressive. Hochbaum’s research also revealed that the stigma towards people with disabilities within

the mainstream music industry has not improved over time and that further research must be done to

reduce the present social stigma.

Recommendations for Practice:

In the music classroom, educators should take a social approach to impairments and disability.

Rather than focusing on the medical model of disability, the focus should be placed on the social model -

it will require educators to consider what ​they​ are doing to create a disability for a student. It will also

require educators to adapt their instruction so that a student with an impairment does ​not​ become a student

with a disability (Bell 2017, Lubet 2009). Music educators should also consider person-first language. A

student ​has​ an impairment; the impairment is not the student (Abramo 2012, Bell 2017). According to all

of the research listed previously, the best approach to music education is to self-reflect and reevaluate

how we think about impairment and disability in the classroom.

Recommendations for Future Research:

More research needs to be done on the effect of the social model of disability on students and

teachers in the classroom. While research now proves that the medical model creates a sense of ableism,
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there must be more research to​ prove​ that the social model is more effective at including students with

impairments and disabilities (Dobbs 2012). More research must also be done to reduce the social stigma

around people with disabilities (Hochbaum 2010, Tiszai 2016). As we move forward as a musical

community, we must learn to adapt for our students, and we must continue our research into ​how​ to adapt

for our students so that they can be included as members of a musical society without any social or

medical stigma attached.

References:

Abramo, J. (2012). Disability in the Classroom. ​Music Educators Journal,99​(1), 39-45.

doi:10.1177/0027432112448824

Bell, A. P. (2017). (dis)Ability and Music Education: Paralympian Patrick Anderson and the
Experience of Disability in Music. ​Action, Criticism, and Theory for Music Education,16​(3),
108-128. doi:10.22176/act16.3.108

Dobbs. (2012). A Critical Analysis of Disabilities Discourse in the Journal of Research in Music
Education, 1990-2011. ​Bulletin of the Council for Research in Music Education,(​ 194), 7-30.
doi:10.5406/bulcouresmusedu.194.0007

Hammel, A. M., & Hourigan, R. M. (2017). ​Teaching Music to Students with Special Needs: A
Label-Free Approach​. New York, NY: Oxford University Press.

Hochbaum, C. (2010). An Exploratory Study of the Representation of People with Disabilities in

Mainstream American Music in 1987, 1997, and 2007. ​The International Journal of Diversity in
Organizations, Communities, and Nations: Annual Review,10(​ 4), 227-240.
doi:10.18848/1447-9532/cgp/v10i04/39899
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Lubet, A. (2009). Disability, music education and the epistemology of interdisciplinarity.
International Journal of Qualitative Studies in Education,22(​ 1), 119-132.
doi:10.1080/09518390802581935

Murphy, M. A., & Mcferran, K. (2016). Exploring the literature on music participation and social
connectedness for young people with intellectual disability: A critical interpretive synthesis.
Journal of Intellectual Disabilities,21​(4), 297-314. doi:10.1177/1744629516650128

Tiszai, L. (2016). We are able to make music together! Workshops with musicians with severe
disabilities. ​Journal of Social Inclusion,7​(1), 31-48. Retrieved from
https://josi.journals.griffith.edu.au/index.php/inclusion/index.