Kathleen Gibson

MUED 372

Dr. V

Teaching Music to Students with Special Needs

Chapter 8: Teaching Music to Students Who Are Intellectually Gifted

1. How can a music educator plan for the inclusion of a student with enhanced cognition in

the music classroom or ensemble?

a. When a music teacher is working with a student who has enhanced cognition it

can be difficult to create assignments to match the speed of their cognition. It is

incredibly important for a music educator to understand the characteristics of

students who are gifted, because in many cases they are on an asynchronous track

in the different aspects. A gifted student is often asking questions that can tire the

teacher, so preparing for questions that may arise ahead of time or creating a time

for that student to ask questions one-on-one is important. Teachers can also take

advantage of the creativity that this student has, making sure that they are

engaging that student in quality opportunities and not over-assigning work. Using

group work is another way to allow a student with enhanced cognition to work

with peers who are at or close-to their level, also allowing students who are at

different learning paces to work together with others who are at their similar level.

2. What specific strategies would be employed in a general music classroom for a third-

grade student who has already mastered the curriculum for elementary general music?

a. By “winding it forward” when creating a lesson plan a teacher is able to think

about the multiple steps that a student takes related to that goal and what the next
 ones are. One strategy that a teacher can use for this student is to wind the lesson

forward enough that the student has new goals in mind, or work with the student

and brainstorm ideas related to each lesson that the student can focus on. For

example, if the other students are working with composition, using a melody and

filling in a single missing note at the beginning, middle, or end of the piece would

be a good starting point for them. The teacher can then meet with the exceptional

student and discuss how they can create a composition assignment for that

student, it could be having them create a 4-note composition, or, if they are more

advanced than that, a multiple-measure composition. This needs to be discussed

with the student, though, because it is important to assign work that the student is

interested in and will hold their attention.

3. How can secondary music ensemble conductors differentiate instruction in a small or

large ensemble setting to meet the needs of students at various levels of cognitive ability?

a. One way that secondary music ensemble educators can differentiate instruction

for students at various cognitive levels is to create groups. There are different

ways to group, with one being creating chamber ensembles based on achievement

levels. This will allow students to work with others who are around their own

cognitive level and present those achievements to the other groups. It’s important

to understand that students who are gifted and students who perform at an average

to below-average level will benefit from different strategies, so being flexible in

the classroom and using different approaches based on students’ cognitive levels

is essential.
4. What strategies outlined in chapter 4 would be effective when working with students who

have enhanced cognition abilities and also have challenges in the area of communication?

a. There are multiple adaptations and modifications that a music educator can use

when working with a student who has enhanced cognition and challenges with

communication. One strategy that could be very useful would be to have a booklet

of visual communication options that the student can use to communicate with the

teacher or others in the class, and also having activities or information in the

booklet beyond what is being taught to the entire class, but still related to the

topic. This would be a version of a teacher’s set of notes, yet taking one step

further for this student, allowing them to have access to more information without

the need to try and communicate that with the teacher. A version of this booklet

can also be made for the student to take home, with activities that they can engage

in on their own time to allow for the student to continue to grow in their music

education. It is important for the music educator to find a communication tool

with that student that allows them to communicate freely and at or close-to their

cognition level.