What are your lived experiences teaching music in SEND?
I worked as a peripatetic instrumental teacher for over 10 years. It was during that time that I started to encounter learners with Specific Learning Difficulties and disabilities. Most instrumental teachers today have a role that necessitates delivering inclusive learning experiences, so the capacity both to understand Special Educational Needs and be highly flexible are vital qualities to have. In 2011, I became involved in a research project at University College London led by Professor Lucy Green. The Royal National Institute of Blind People generously supported us due to its focus on learning instruments without notation. It connected me with a fascinating international network of blind and partially sighted instrumentalists, composers, music producers and music learners. As a result, I led a nationally funded project that culminated in a book on their lives, including exploring, for instance, how they learned music, the assistive technologies they leveraged, what they thought were suitable music pedagogies and school experiences, and the social justice issues they encountered. I was able to travel to the US, Australia, Norway and India to gain helpful insights from representatives of stakeholder disability charities in those countries too. I now train music teachers (and aspiring ones) in music and SEND as Programme Leader of University College London’s MA Music Education. Each year, we have hugely valuable discussions in lectures about instrumental music teaching in different national contexts, including the UK. I am constantly learning and value it hugely. Having heard the insider perspectives of musicians with Specific Learning Difficulties and disabilities, the views of the music teachers working with them, and their other supporters, and those of trainee music teachers, there seems a huge need for training and knowledge exchange around SEND. At the same time, this creates a magnificent opportunity for us all.
What would you say are obstacles that most teachers face when teaching students with SEN?
Unfortunately, many instrumental teachers work in isolation from their colleagues and from worthwhile professional development opportunities. When instrumental teachers can get together to discuss approaches that have worked with their SEN students, and perhaps to discuss the issues raised in my book too, it is immensely beneficial: students prosper and teachers develop through their expertise and sharing. I worked as a peripatetic brass teacher rushing between several geographically distanced primary and secondary schools each day. There was limited time to discuss SEN matters with Heads of Music, so I completely understand the context, isolation and pressures. Moreover, there were seldom opportunities to ask parents about support that has worked for their child in the past, or to chat with other instrumental teachers. Making time for those helpful discussions and exchanges – however challenging that is – is an absolute game changer.
What tools can people expect the book to give them?
Music Teaching for Special Educational Needs: A guide for instrumental teachers pulls together my experiences as a music teacher and academic with the published research and other literature across various SEN and disability areas. It also includes illustrative case studies, teaching ideas, additional reading material, and reflective questions. It is written as an accessible starting point, which is well-referenced both for its credibility and to work within academic contexts, so that every instrumental teacher and music student can use the publication to test and develop approaches in their own music teaching contexts. There is no “one-size-fits-all” pedagogical approach in instrumental teaching, so I hope the book whets readers’ appetites and serves as a helpful platform for their personal development in this arena.
Why is it important for teachers to understand a broader range of needs?
The reasons why teachers need to understand a broader range of learner needs are twofold: Firstly, music education now seeks to be inclusive – particularly in school, college, university, music conservatoire and community contexts and so teachers need to attend to high differentiation. Across their careers, instrumental music teachers will have pupils with SEN, which will range from those with Specific Learning Difficulties like dyslexia to students with physical or sensory disabilities. Some disabilities can be hidden, go undiagnosed, or are less easily perceived, so it is imperative that practitioners are attuned to this and can develop practices from which everyone in society can benefit. Secondly, it is all too easy to fall into the trap of delivering music teaching in a single way, that is, by utilising a limited range of well-worn strategies, normally by drawing on one’s own experiences as a music learner. Whilst initially comfortable and safe, they may not work with every student and become tedious over time. It is far more energising to engage with different learner types with a view to one’s personal development.
What is the impact of learning more about SEND as a music teacher?
Learning more about SEND and music teaching offers great opportunities for personal growth, for the development of additional teaching practices and resources, for better relationships with one’s pupils, and, potentially, for cultivating a range of specialist skills. It also makes us think more deeply about instrumental teaching generally and its place in our world. The biggest impact, however, is the potential for an instrumental teacher to contribute to a more socially just society in which everyone can access music, develop through it, have friendships and positive experiences, and, most importantly, gain immense joy.
Find out more about Music Teaching for Special Educational Needs, here.