| i Music and movement P-12 standards-based - curriculum-assessment for individuals with Autism Spectrum Disorders (ASD) Robyn Swanson, Western Kentucky University, USA Martha Boman, Western Kentucky University, USA Abstract The purpose of this study was to determine what correlations, if any, could be ascertained between the performing, responding and creating standards-based music- movement activities/assessments to improved functioning systems with students who display autism. These functioning systems encompass: cognitive-communication, gross- fine motor, specifically vestibular-balance and proprioceptive-relaxation of muscles, and social-emotional. A music educator in collaboration with the P=12 Autism Program (P-12 AP) director and faculty initiated a descriptive research study, beginning January, 2013 and ending August, 2014, using a variety of quantitative and qualitative measures of investigation. The researchers are and will continue to analyze all collected data recorded in the student's growth (cumulative) portfolio to determine if a statistically significant difference occurred in the functioning systems of students with ASD when engaged in standards-based music-movement activities/assessments. In 2011, the Director of a Primary through Grade Twelve Autism Program (P-12 AP) invited a music education professor to design a P=12 Music and Movement Standards- Based Curriculum-Assessment for Individuals (ages 7-21) with Autism Spectrum Disorders (ASD). The project received grant funding from WHAS Crusade for Children, he purpose of this study was to determine what correlations, if any, could be ascertained between the performing, responding and creating standards-based music- movement activities / assessments to improved functioning systems with students who Were diagnosed with autism. Specifically, the researchers observed and measured a student's demonstration of music knowledge and performance skills (moving/dancing, singing, playing instruments, listening, reading, notating, improvising/creating) to evaluate if changes occurred in the functioning systems of cognitive-communication (verbal-body language exchanges); gross-fine motor (vestibular-balance, proprioceptive-relaxation of muscles); and social-emotional (relationships with others, _ telf-confidence), The term “functioning systems” and “basic functioning skills” are interchangeable.The Council of Exceptional Children (CEC) researchers, Dunlap and Bunton-Pierce (1999) define Autism “as a developmental disability that affects a person's ability to communicate, understand language, play, and interact with others” (para-1). Autism is described as a behavioral syndrome in which a majority of diagnosed individuals possess vestibular (balance) and proprioceptive (relaxation of muscles) disorders. Mayo Clinic Staff (2012) state “Asperger's syndrome is a developmental disorder that affects a person's ability to socialize and communicate effectively with others. Children with ‘Asperger's syndrome typically exhibit social awkwardness and an all-absorbing interest in specific topics” (para. 1). Since a wide-range of behaviors are included within the spectrum of Autism, Mayo doctors believe Asperger's syndrome displays as a milder form of ASD. Given the behavioral characteristics of students with ASD, it appears feasible that structured music and movement activities linked with performance-based assessments served as a plausible approach for holistic development in cognitive- communication, gross-fine motor including vestibular-balance and proprioceptive- relaxation of muscles, and social-emotional functioning systems. The sample size (N=42) of the P-12 AP music-movement study was divided into two categories, The younger group consisted of students ages 7-10 (N=27) and the older group ages 11-21 (N=15). Most of these students were somewhat verbal with lower functioning in cognitive-communication, gross-fine motor including vestibular-balance and proprioceptive-relaxation of muscles, and social-emotional skills Description of the research-based curriculum/instruction/assessment design, instructional resources and musical instruments ‘The P-12 AP assessment driven curriculum contained 49 instructional packets with detailed lesson plans (objectives, resources, instructional strategies, assessments) and illustrated a variety of musical styles and genres representative of various cultures and historical periods. The AP Elementary Music-Movement Standards-Based Curriculum- ‘Assessment Module was organized into three sections: Music-Movement Lesson Plans/ Assessments; Movement-Dance Lesson Plans/ Assessments; and Story Dramatizations- Creative Dramatics. The AP Middle/ igh School Music-Movement-Dance Standards- Based Curriculum-Assessment was organized into instruction/ assessment modules and categorized by the artistic processes of: performing, responding and creating Fach module included multiple instructional activities with matching assessments. Some examples of task analysis instruction/ assessment procedures illustrated how to teach music and movement (dance) elements and skills in a simple-complex, repeat relate-reflect-refine instructional process correlated to developing, reinforcing and/or expanding cognitive-communication, gross-fine motor, and social-emotional functioning systems. The accompanying instructional resources were comprised of: K-8 music textbook series, CD's, DVD's, adaptive materials (e.g. Picture Exchange Communication System {PECS} versions of rhythmic chants, color-coded instruments, adaptive cuffs to hold instruments, scarves, stretchy nylon-hose to manipulate while moving-responding to music), and music instruments (e.g. keyboard, guitar, hand bells, hand percussion, a 14fled students to compose and perform music in a non-structured manner through tion with laser beams (Beam, 2009). ‘curriculum was organized via a template that identified the lesson packet \ber, music/ movement activities, assessments and the alignment to appropriate delines and Standards, Music Therapy Extra-Musical Skills, Kentucky Department fliducation (KDE) Music and Dance Program of Studies (POS), National Standards in Nitko and Brookhart (2011) discussed the federal initiative, Response to Intervention 1) an outcome of IDEA, PL 108-446 (2004), which afforded students with learning ecls, alternative measures of assessment. One recommended model was defined as a harted on a daily or weekly basis. When students achieved the objective at one tier inchmark), they progressed to the next tier (benchmark) of learning expectations, etc. p. 128-129) " igure 1 provides an example of how Swanson (2010) constructed and evaluated a eicriptive assessment task using the progress monitoring system for a pre-school iluclent (Ricky) who presented as lower functioning in cognitive-communication, gross- fine motor including vestibular-balance and proprioceptive-relaxation of muscles, and motional skills. Please note how Ricky, because of physical impairments, was ~ ansessment design. Based on the wide-range of functioning skills within the P-12 AP population, the researchers addressed both music therapy and music education beliefs and practices. According to Montgomery and Martinson (2006), a music therapist is a trained musician skilled in modifying music activities so students with a wide-range of abilities are engaged in developing extra musical goals through music making. These extra cal goals were identified on a student's individualized education plan (IEP), as pathways to develop and/or enrich cognitive-communication, gross-fine motor (vestibular-balance, proprioceptive-relaxation), and social-emotional skills. In this study, some of the extra musical goals delineated by Montgomery and Martinson (2006) perpetuate growth and development with functioning system skills, (e.g, time on task, stening skills, counting skills, crossing the midline, tracking left to right, sharing, waiting turns, making appropriate choices, decision-making skills, pattern recognition, esteem, etc.), and served as performance trait indicators on the P-12 AP Music- Movement Observation Coding Form (OCF) (see Appendix B).Prescriptive Task Play a steady beat in tempo on a drum while listening to a recording of march-style music, Stars «and Stripes Forever by John Philip Sousa and march around the room (locomotor movement). 1. The student rehearses playing using a drumstick, steady beat patterns in tempo. A Velcro cuff may be needed to hold a drumstick securely. 2. Add the recording of the march-style of music and have the student play the beat pattern in tempo. 3. Play the beat pattern in tempo while listening to the music and begin to march in place dependent upon support (ie. walker, tables, peer tutor), 4. Play the beat pattern in tempo while listening to the music and marching around the room (locomotor). Prescriptive Assessment Scoring Guide ‘Scoring Criteria: B=Beginning, D=Developing M=Mastery (8) Beginning: demonstration of the skill is observed some of the time but not consistently (D) Developing: demonstration of the skill is observed most of the time but not consistently (M) Mastery: demonstration of the skill is observed consistently Student Example Name of student: Ricky Skills in relationship to | Scoring | 6/12 | 6/19 | 6/26 [7/3 | 7/10 | 7/17 | 7/24] 7/a1 | 8/6 the task Date —> Rehearse playing the B |D |M drumstick to the steady beat patterns in tempo. Add the recording of the bD |M march and have the student play the beat pattern in tempo, Play the beat pattern in B |D |[D |[M tempo while listening to the march and begin to march in place dependent upon support. Play the beat pattern in NA tempo while listening to the music and marching around the room. Figure 1: Prescriptive Task, Assessment Scoring Guide, Student Example 116‘To structure and sequence the content and skills component of the P-12 standards- based music-movement curriculum, the Kentucky Department of Education (KDE) Arts incl Humanities Program of Studies (POS) (curriculum guides) and the National Slandards in the Arts (Music and Dance) were referenced. The music and movement leason plan objectives with formative/summative assessments, (e.g. pencil/paper “Ausessments, student performance checklists, teacher progress reports, individual ‘stuclent growth (cumulative) portfolio), were created in alignment with the music and dance KDE, P-12 POS (curriculum) Big Ideas, These included: 1) Structural Elements: (Music: Rhythm/Tempo, Pitch/Melody, Harmony /Texture, Form, Dynamics, Tone Minging, playing instruments, improvising-composing, listening, reading, writing, “otating and evaluating music) and Dance Skills (performing, responding and creating rough locomotor and nonlocomotor movements); and 5) Inter-relationship within the 2006), Even though dance standards were addressed and structured dances utilized, \isic became the primary focus of instruction/assessment with movement as an jesoarch-based instructional and assessment strategies | Churchman (2009), Hammel (2004, 2008), Hammel and Hourigan (2011), Hartenberger (2007), Jensen (2000), Kara (2009), Marzano, Pickering and Pollock (2001), cial Education Programs (2007), and Zemelman, Daniels and Hyde (1993) provided n for design as well as adaptation of instructional strategies and assessment. weilically unique to the P-12 AP were songs and chants designed in Hammel's (2004, si) Picture Exchange Communication (PEC) format. Students followed the pictures hile singing, playing instruments or moving to music. Such instructional modification “quid assessment augmentation afforded the teacher opportunity to easily assess a i's ability to follow the beat, a melodic line, etc. and allowed students with ASD ‘Two research-based categories of descriptors: Key Considerations for Aivatiuction/ Assessment Design and Best Practices for Teaching/ Assessing reflected a mnthesis of ideas to aid both music and special education educators for teaching and 17Key considerations for instruction/assessment design ~ Recognize short attention spans: Time-Age Rule (T.A.R); ~ Use of multi-sensory skills (aural-oral, visual, bodily-kinesthetic tactile) in every activity; ~ Include communication tools/ visual supports such as written schedules, Picture Exchange Communication System (PECS); ~ Motivate using ‘the hook’; + Promote self-esteem; - Identify diverse learning styles; ~ Determine how many music skills, what music content, and extra musical goals are taught and assessed in each plan; and ~ Recognize the music-movement content and skill relationships to other arts and subject areas. Best practices for teaching/assessing ~ Use of energy and enthusiasm; ~ Limit verbal instruction: Say and do; + Give concise directions; - Model when possible; ~ Maintain a constant flow of activities; - Include necessary repetition and relating of content (R&R); ~ Use task analysis for instructional sequence and assessment; ~ Adapt music reading/ instrument playing materials by color-coding notes that match color markings on instruments; > Create a positive learning climate; - Embrace the “I believe, you can achieve” attitude. Hartenberger (2007), Nitko and Brookhart (2011) provided guidance in planning 21st century classroom assessments. Such types of measurement with scoring criteria included, but were not limited to, standardized tests, teacher and student performance checklists, constructed responses using open, extended and closed, oral questioning, multiple choice or selected response, and growth (cumulative) portfolios. Even though a variety of evaluation tools were linked to instruction in the P-12 AP music-movement standards-based curriculum, a majority were authentic performance- based assessments that included music skill checklists with established levels of Progress: beginning, developing, and mastery (see Appendix B). Some instructional activities led to modified pencil-paper assessments whereby students marked with a pencil dot when they heard beats in a prepared matrix, or drew musical lines to illustrate interpretation of a musical phrase, etc. Music composition experiences ranged from elementary through high school-level and included age-appropriate guidelines and scoring criteria. Even though the curriculum was developed in elementary, middle/high school modules, given the wide-range of functioning system abilities within the P-12 AP population, accommodations and adaptations were necessary in assessing individual performance in relationship to measureable objectives, For 118jh high school-age student needed remediation to perform rhythm patterns he fall of 2011, the music educator trained the P-12 AP faculty how to implement iculum and assessments. The 42, P-12 students who attended the AP semester in) (fall, spring, summer) had been diagnosed ASD with about 75% of the i identified with Asperger's syndrome. The P-12 AP student population Iitwented diverse ethnic and socio-economic backgrounds. Administrators chose movement as an education program because these disciplines are appreciated ly and no language barriers existed when individuals were engaged in i, responding to, and creating music and movement _ Since the Music- Movement Standards-Based Curriculum-Assessment (2011-2012) Ved as a new content component, it took a period of time for faculty to acclimate to {hw design of the curriculum while preparing the lessons and assessments for Mplementation. Some P-12 AP faculty had limited experience teaching or assessing a ‘Atructured music/movement curriculum. Minimal data was gathered consistently foparding the student's growth in music-movement skills using a student performance Hweeklist. However, when the P-12 AP director and faculty reviewed the documented {oacher observations and anecdotal notes there was evidence of positive implications 1 majority of the students about improved musical skills, movement skills, nitive-communication, gross-fine motor (vestibular-proprioceptive), and social- votional functioning systems. An example of a positive response was a middle-school ‘age student, who is incredibly self-focused and quite unresponsive, volunteered to perform (sang) in front of his peers. The P-12 AP Director commented that there was a probable relationship between the student's demonstration of self-confidence to perform and the music-movement training, Research design, question, hypothesis and plan for the study Beginning, January 2013 with the projected ending date as August 2014 (5 semesters of data), the music education professor, P-12 AP director and faculty embarked upon the descriptive research study using both quantitative and qualitative measures of investigation. The research question stated: what correlations, if any, could be ascertained between the performing, responding and creating standards-based music- movement activities / assessments to improved functioning systems with students who are autistic. These functioning systems encompassed: cognitive-communication, gross- fine motor, specifically vestibular-balance and proprioceptive-relaxation of muscles, and social-emotional. The hypothesis was: there will be a statistically significant difference in the functioning systems of students with ASD when engaged in standards- based music-movement activities/assessments. 19Chuttleworth (2008) and Stangor (2011) promoted using the descriptive research design method to collect, analyze, and interpret data when one overses and describes human behavior. To establish validity, both quantitative and qualitative descriptive research measures were applied. Stangor (2011) believed when ace combined both quantitative measurement and qualitative evidences a riches description of observed behaviors can be reported. In this study, quantitative measuromente included pre-post Primary Mensures of Music Audiation (PMMA) or Intermediate Measures of Music Audiation (IMMA) standardized test scotes, empirical evidence recorded through frequencies and percentages of student behaviors (music movement acl functioning systems performance traits) observed by two different teamne (ive and video), analysis of variance used to determine the difference by comparing the two peansk of the empirical observed frequency cata for both observation teams, and the Fearson-Product Moment Correlation Coefficient (Pearsot’s r) statistic used ce compute the correlation (linear depencience) between the two sets of observed data Ouialinten evidences consisted of multiple types of scored student assessments, teacher's ant observer's anecdotal notes. In the P-12 AP descriptive study, two teams of trained observers collected data, The trained P-12 AP (live) observers (2) documented the incidences for student’s musics other Coan Performances and demonstration of functioning systems behavior(s) The other team of trained observers (2) comprised of a music education and special education professor viewed and coded the same student's music- movement Performances and functioning system behavior(s) via video clips, Both teams used! the same Observation Coding Form (OCF) (see Appendix B), Descriptions of sample size and music-movement class meetings Shuttleworth (2008) believed the descriptive research design is applicable when the sample size is small and there is not enough data to conduct more quantitative types of experimentation. In the P-12 AP experimental research study, the students were classified into 2 categories. The sample size contained 42 students The younger Students, ages 7-10 (N=27) and the older students, ages 11-21 (N=15). Both lretitutional Review Board (IRB) and parent/guardian permissions were secured for the P-12 AP students involved in the study. ‘The elementary-level students (N=27) attencied the music-movement classes for two fifteen-minute sessions equaling thirty-minutes per week, Middle and high school-level students (N=15) participated for two thirty-minute sessions equaling sixty-minutes or one sixty-minute session per week Data Collection The first step in quantitative data collection incorporated formal assessment in which all P-12 AP students were administered a Gordon (1979, 1982) Primary Measures of Music Audiation (PMMA) (N=27) ot Intermediate Measures of Music Audiation (IMMA 120Ne15)) standardized exam to diagnose and measure music potential. The PMMA is lonigned for the primary age and the IMMA for intermediate age students and both Fequlire no reading skills. Gordon (1979, 1982) stated both the PMMA and IMMA tests valid and reliable standardized measurements of musical aptitude. Walters (1991, (10) reported PMMA is a valid measure of musical aptitude to use with older children it adults who have disabilities (pp. 68-69). Gordon (1979, 1982) also shared that musical plitude is not fully developed until age 9 so the PMMA and IMMA may be considered Movelopmental aptitude tests (pp. 69-70). He also believed that to accommodate specific ‘educational needs of exceptional students, local norms should be developed rather than Aine the grade norms in the manual or chronological age (Gordon 1982, p.9) ‘The PMMA/IMMA questions on the CD coincided with the pictures on the answer shel, The students decided whether pairs of tonal or rhythm patterns they heard “4ounded the same or different by indicating their choice by drawing a circle around the eorrect picture. These tests were selected because of the wide range of ages (7-21), “cognitive functions and Gordons directive for developing local norms when “administering the exam to students who need accommodations. Some students "possessed minimal or no abilities to read. Based on prior P-12 AP faculty and the music “educator's observations (2011-2012), it was theorized that some students possessed a ‘Ailghslevel of music acuity. Administration of this type of standardized musical aptitude (oat aided P-12 AP faculty in assessing the musical abilities/needs of each student. According to Gordon (1979, 1982) percentile ranks are used to divide the student's, ‘cores into three groups (low, average and high). Students who score at the 80" _ potventile and above are in the high group. Children between 21+ and 79% percentile * holong to average group; and children who score at the 20" percentile and below are in " (he low group (p. 81). The Gordon composite percentile ranks (both tonal and rhythmic scores) are reported in Table 1. Local norms for these two exams have not yet been - pilablished. Various criteria gleaned from the individual's academic cumulative file will {w utilized to compute the local norm for both the PMMA and IMMA. ‘The musical aptitude data (Gordon's test norm data) served as the first entry into a " aldent’s growth (cumulative) portfolio. To investigate if a difference existed in an jlividual’s developing musical aptitude the respective PMMA or IMMA will be fulministered at the end of the study. The pre-post test data (both Gordon test norm data and local norm data) will serve as a measure of quantitative analysis. "The second step in quantitative data collection consisted of analyzing the empirical " evidence regarding the observations of the two different teams (live and video), coding, Hiv same demonstrations of student behaviors (music-movement performance and lanctioning systems performance traits) (see Appendix B). The P-12 AP music- "ovement curriculum activities served as the treatment (independent) variable. 121Table 1. PMMA and IMMA Composite Percentile Ranks Test Groupin; N Percent PMMA (N= 27) Low, 16 615% Average i 38.5% High 0 0 Low 12 80% Average 2 133% High a 6.7% Description of the observation coding form (OCE) and observer training IMMA (N = 15) Observation scores for each student’s music-movement performances, and functioning systems behaviors (cognitive-communication, gross-fine motor (vestibular- pacbrioceptive), and social-emotional) were recorded on an Observation Coding Form (OCR) (see Appendix B). The OCF selected music-movement performance indicators included: moves to beat/rhythm; sings on pitch; plays instrument in thythmy and uses evidennae pavterns/ visualization. The observers (live and video) recorsled thee evidences individually in increments of incidences The OCF criteria used to evaluate a students incidence (1) of functioning system behaviors included: (1) Communication: appropriate verbal skills, appropriate nonverbal skill, and gestures/ body language; (2) Motor Skills: grose motor skills, fine Fee nits, Vestibular-balance, proprioceptive-relaxation of muscles, and, (3) Social/ Emotional: positive socialization with peers, exhibits self-confidence positive social behaviors such as waiting tums, ime on task, listening skills and making appropriate choices. The observer(s) recorded these evidences as incidences of activity (I=), After each week (8) of observation, the number of incidences for back music movement and functioning system behaviors were tabulated and levels of progress Sheer sesiBred and designated by both teams of observers (live and video) observed demonstration of the skill; B) Beginning; cemonstration of the tan is observed some of the time but not consistently (1-3 incidences per week); (D) ag loping: demonstration of the skill is observed! most of the time bat ney consistently (4-6 incidences per week); and (M) Mastery: demonstration of the ekill te observed consistently (7-9 incidences per week). All music-movement and functioning systems clata were recorded in the individual's growth (cumulative) portfolio (see Appendix C). To control validity and reliability about data collection, the music sdace re conclucted a one-day training session with P-12 AP faculty about how to tech the Sarriculum activities and assessments, The observers (live and video) were trained fimultaneously about what musical and functioning system behaviors to loci. ee and how to mark the individual performances on the OCF and summarize the deaa 122first set of observations (live and video) and data collection using the OCF was liticted for 8 weeks. The remaining data collection cycles will be repeated in 12-week als 4 times. roughout the observed (live and video) data collection (5 semesters), the P-12 AP tor and the music education professor used/ will use descriptive statistics fieasuires of central tendencies: mean, median, mode) to analyze the frequencies and sitages of the empirical and observed evidences to determine if there is a bitelation between the standards-based music-movement activities/ assessment and jarticipant’s improved functioning systems. The researchers, beginning summer of 1013, will abide by the following protocol during experimentation in 12 week cycles: (1) Initial period of training the observers/ teachers (2 weeks), (2) application of the yatment variable for 10 weeks, and (3) reassessment. Every 12 weeks the observers {live and video) and teachers will be trained using different sections of the music- ovement curriculum activities and assessments. "Stop one data analysis and interpretation To investigate if there are improved functioning systems with students who are autistic when engaged in sequential music-movement activities/ assessments, the researchers have analyzed the first set of quantitative and qualitative findings. The PMMA or IMMA music aptitude pre-test scores have been analyzed in accordance with Gordon's test norm. Eight weeks of OCF student data for both groups of students N-27 (ages 7-10) and N-15 (ages 11-21) was collected by the live observers. Video recordings were available for only the last two weeks of the observation cycle. And, there were inconsistencies with coding by the live scorers for the older group of students ages 11- 21 (N=15). Therefore, the researchers computed and analyzed the younger students (ages 7-10, N=27) summary of data for both teams (live and video) and the correlation (Pearson’s 1) between the two teams of observers (live and video). To date, some qualitative evidences have been documented. These included examples of modified (drawing the phrases) and progress monitoring assessments as well as the observer's anecdotal notes. The anecdotal notes were beneficial to the researchers in interpretation of the observed evidences by both teams of observers. Both quantitative and qualitative research findings were being stored in each student's growth (ages 7-10, N=27) (cumulative) portfolio. Before the next phase of experimentation, all coders will be re-trained and a week of data and video clips will be examined to ensure empirical observations are being correctly documented. Data Interpretation When reviewing the distribution of observed data findings for both the live scorers (Table 2) and the video scorers (Table 3), there is positive (+) correlation .9 between the scorers. The only performance indicator the live and video scorers disagreed about was the number of observed incidences recorded within the moves to beat/rhythm 123category. Perhaps, additional training or monitoring of the video clips by the music educator will yield a +1 correlation between the two teams of observers. A majority, 55.6% to 66.7%, of the younger students (ages 7-10, N=27) demonstrated beginning progress, with 22.2% to 29.6% at the developing level, 7.4% at the mastery level and 7.4%-11.1% with no report of participation in music-movement activities-assessments In relating the PMMA scores to the observed data, there was a positive relationship which developed between the low scores (16 students, 61.5%) and the observed beginning level music-movement/ functioning systems behaviors (15-18 students, 55.6% to 66.7%) and the developing level, PMMA average scores (11 students, 38.5%) and observed behaviors (6-8 students, 22.9%-29.6%). No students scored in the high percentile of the PMMA, but 2 students (7.4%) earned mastery scores by the two teams of observers. An overall analyses and interpretations of the quantitative and qualitative data for each student's growth (cumulative) portfolio will aid in determining the probabilities about what correlations, if any, can be ascertained between the performing, responding and creating standards-based music-movement activities/ assessments, in relationship to improved functioning systems with students who are autistic? These functioning systems involve: cognitive-communication, gross-fine motor, specifically vestibular- balance and proprioceptive-relaxation of muscles, and social-emotional. Continued data collection and analyses will determine if the researchers can accept or reject the hypothesis that there will be a statistically significant difference in the functioning, systems of students with ASD when engaged in standards-based music-movement activities/ assessments. Implications for further research Itseems feasible that other research studies could emerge about curriculum- assessment development for students with ASD. The P-12 AP Music-Movement Standards-Based Curriculum-Assessment could serve as a theoretical model to conduct acontent analysis investigation in relationship to a traditional music curriculum with accommodations for teaching and assessing students with a wide-range of disabilities. 124Table 2. Live Scorers Observed Data Summary (N = 27) Observed incidence ‘No Report Beginning Developing Mastery N % N % N % N % Moves to beat/ rhythm 2 15 556% 8 296% 2 74% Sings on pitch 3 TLI% 18 66.7% 6 222% 0 Plays instrument in rhythm _ 2 74% 15 556% 8 29.6% 2 7a% Uses movement patterns/ visualizations 2 7.4% 15 55.6 8 29.6% 2 74% ‘Communication-Performance Traits: 2 74% 15 55.6% 8 29.6% 2 74% Appropriate verbal skills a Appropriate nonverbal skills and gestures/body language 2 7A% 15 556% 8 29.6% 2 74% Motor Skills-Performance Traits: 2 74% 15 556% 8 296% 2 74% 4G Gross motor skills _ = Fine motor skills 2 74% 15 556% 8 296% 2 7A% Vestibular: balance 2 7A% 15 55.6% 8 29.6% 2 74% Proprioceptive: relaxation of muscles 2 7A% 15 55.6% 8 29.6% 2 7.4% Social/Emotional Performance Traits 2 74% 15 55.6% 8 29.6% 2 74% Positive socialization with peers Exhibits self-confidence 2 74% 15 55.6% 8 29.6% 2 74% Positive social behaviors: Waiting turns 2 74% 15 556% 8 29.6% 2 7.4% Time on task 2 74% 15 556% 8 29.6% 2 7.4% Listening skills 2 7.4% 15 55.6% 8 29.6% 2 74% ‘Making appropriate choices 2 74% 15 556% 8 296% 2 7.4%Table 3: Video Scorers Observed Data Summary (N = 27) 126 Observed incidence No Report 7 Beginning Developing Mastery Moves to beat/ 2 74% 18 667% 7 259% 0 rhythm Sings on pitch 3 Ti% 18 667% 6 222% 0 Plays instrument in rhythm. 2 74% 15 55.6% 8 29.6% 2 74% ‘Uses movement patterns/ visualizations 2 7.4% 15 55.6% 8 29.6% 2 7% ‘Communication-Performance Traits: 2 7.4% 15 55.6% 8 29.6% 2 74% Appropriate verbal skills ‘Appropriate nonverbal skills and gestures/body language 2 7am 15 556% 8 29.6% 2 74% ‘Motor Skills-Performance Traits: 2 74% 15 556% 8 296% 2 74% Gross motor skills Fine motor skills 2 74% 15 556% 8 29.6% 2 74% Vestibular: balance 2 74% 15 55.6% 8 29.6% 2 74% Proprioceptive: relaxation of muscles 2 74% 15 55.6% 8 29.6% 2 74% Social/ Emotional Performance Traits: Zz 74% 15 556% 8 296% 2 74% Positive socialization with peers Exhibits self-confidence 2 7a%_15 556% 8 296% 2 74% Positive social behaviors: 2 74% 15 556% 8 29.6% 2 74% Waiting turns Time on task 2 7a%_ 15 506% 8 29.6% 2 74% Listening skills 2 74% 15 55.6% 8 29.6% 2 7.4% Making appropriate choices 2 74% 15 55.6% 8 29.6% 2 74%pendix A. Organization and Descriptions of the (ticulum/Instruction/ Assessment Template [usic/Movement Standards-Based Curriculum-Instruction Assessment Chart for dlomentary Students ASD Music/Movement Activity: Lesson plans 1-3 Jackel #f and Title of Activity and it’s relationship to the: ‘ASD Guidelines/Standards: Instructional Planning K9 (IP-K-5) General education curriculum, with an emphasis on all essential learning requirements “und appropriate strategies, materials, and supports to facilitate the success of students Ith ASD in these areas. "Apply principles of LRE in the education of students with autism through mo ‘nd augmenting curriculum (MAC) ‘And, Music Therapy Extra-Musical Skills: Cognitive/ Communication Skills (CCS) Gross/Fine/ Perceptual Motor Skills (G/F/P MS) al/ Emotional Skills (S/ES) KDE Music and Movement Program of Studies (POS)/National Standards (NS) in Music and Dance: Music/Dance/Movement Big Ideas: POS-IM=Music Elements: Rhythm, Melody, Form, Harmony, Tone Color, Dynamics, ‘Tempo POS-2D= Dance/Movement Elements: Space, Time, Energy-Force, Expression POS 2.Humanities: cultures and historical periods of music and dance POS 3. Purposes: Ceremonial, Recreational, Artistic Expression POS 4.Processes: Music and Dance Skills: performing, creating and responding National Standards in Music (NS-M): NS-M: 1.Singing, NS-M: 2.Playing Instruments, NS-M: 3.[mprovising, NS-M: 4,Composing, NS-M: 5.Reading and Notating, NS-M: 6.Listening and responding to music, and NS-M: 7.Evaluating music Selected National Standards in Dance (NS-D): NS-D: 1. Identifying and demonstrating movement elements and skills in performing dance; NS-D 3: Understanding dance as a way to create and communicate meaning; NS- D4. Applying and demonstrating critical and creative thinking skills in dance 129POS 5.Interrelationships of music and dance among the arts and other disciplines and its relationship to history and culture 218 Century Skills in the Arts: The 4 C’s of Critical Thinking, Creativity, Communication, inherent in music, movement and dramatization activities. and Collaboration are Packet | Music/Movement | ASD Primary/Elementary | 21" Century Number | Activi Standards | KDE Program of Skills in ‘And Music| Studies /National _| relationship to Therapy Standards the music and or Extra- movernent Musical activity Skills 1 Lesson Plan 1 Activities One, Two TP: K2; POS-IM Rhythm ‘Communication MAC: NS-M-1, 6 Collaboration modification | NS-D-1 Interaction with Music peers in Therapy: reinforcing each ccs student's name Number sequence S/ES Self Concept Finger Poppin’ | IP: K-2 POS-IM pattern Critical MAC: sequence of rhythm | Thinking: modification | NS-M-6 performing the Music NSD correct Therapy: movement G/F/P MS sequence with Fine Motor the narration Skills ccs Listeningendix B. Observation Coding Form (OCE) for the Music-Movement Curriculum- ticipants Name: Underline: live or video urriculum Packet Number Hcoring Key: \- Incidences of activity Incidences of Activity will be reported weekly in relationship to: (0) No observed demonstration of the skill (li) Beginning: demonstration of the skill is observed some of the time but not consistently (1-3 incidences per week) (1D) Developing: demonstration of the skill is observed most of the time but not ently (4-6 incidences per week) (M) Mastery: demonstration of the skill is observed consistently (7-9 incidences per week) Name of Student Date of observation Moves to beaty Irhythm Sings on pitch Plays instrument in rhythm Uses movement patterns/visualizations |Communication- \Performance Traits: |Appropriate verbal skills |Appropriate nonverbal Iskills and gestures/body language (Motor Skills-Performance| [Trait Gross motor skills iFine motor skills estibular: balance [Proprioceptive: relaxation| lof muscles \Social/Emotional [Performance Traits: 131EES Positive socialization ith peers |Exhibits self-confidence [Positive social behaviors: iting turns (Time on task [Listening skills Making appropriate choices Appendix C Music-Movement Students Growth (Cumulative) Portfolio Name of student idence Grade Level Score(s) PMMA or IMMA Pre-Post Tests Observed Live Coding Forms Data with dates of observation Observed Video Coding Forms Data with dates of observation ‘Anecdotal notes by faculty and observers Scored student-self/peer assessments (when applicable) Scored constructed responses test items open, extended and closed (when applicable) Scored multiple-choice or selected response test items (when applicable) Overall Interpretation of PMMA or IMMEA and observed performance scores Overalll Interpretation of all evidence in reporting music-movement and functioning systems growth 132