Selected and Reviewed by Andrew Eales
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Faber Music continue to produce outstanding books to support instrumental teachers, the latest of which is Music Teaching for Special Educational Needs: a guide for instrumental teachers, written by David Baker. According to the publishers,
”This comprehensive guide provides a solid foundation for teachers wanting to understand and support music students with additional needs. It covers dyslexia, autism spectrum disorder and visual, auditory and physical disabilities, and is packed with up-to-date information, helpful pedagogical starting points, case studies, practical advice, ideas for reflective practice and further reading.”
This is undoubtedly a timely book, and one which promises to usefully fill a significant gap in the market for an accessible introduction to these topics, so let’s take a closer look from a piano teaching perspective…
First impressions
David Baker is Associate Professor at University College London, where he leads the Music Education MA. He previously worked as a peripatetic instrumental teacher in UK primary and secondary schools for over 10 years. He has a particular interest in disability, music and assistive technology development.
Music Teaching for Special Educational Needs is fairly large format book, with a bright, glossy softback cover. Within, there are 226 pages printed on bright white paper, and with a generous and well-spaced font.
Baker likes to summarise information in table format. There are occasional musical examples, and the main text is divided into short chunks that are well signposted, with regular subtitles throughout each of the seven chapters. These are as follows:
- Introduction: Foundations for Understanding Special Educational Needs and Disabilities
- Dyslexia, as an Example of a Specific Learning Difficulty
- Autism Spectrum Disorder
- Visual Disabilities
- Auditory Disabilities
- Physical Disabilities
- Conclusions: Hallmarks of a Good Instrumental Teacher
Glossary of Terms
Directory of Organisations
References
Baker’s academic background shows in his writing style, which is authoritative, informative, concise, and supported with frequent footnote citations. He helpfully concludes each chapter with a series of “reflective questions”, often a test on the chapter material, but useful for promoting reflection on how we might apply his key points in our teaching practice.
He helpfully lists “suggested further reading” at the end of each chapter (although many of his recommendations are journal articles which instrumental teachers are unlikely to have easy access to) and delivers a substantial bibliography at the end of the book. Finally, there’s a directory of organisations offering further support and guidance.
In his introduction chapter, Baker particularly stresses the importance of a reflective approach, personalised to the specific needs of each learner. He also reveals a distrust of non-academic practitioners who present their own working solutions as one-size-fits-all panacea:
”A one-size-fits-all ‘pedagogical toolkit’ applicable to every learner within a particular disability or SpLD category is unachievable. It is unreasonable to expect this pre-packaged, supposedly ‘correct’ knowledge. That is the candid reality and not a weakness of this book. So, we ought to be dubious of professed ‘experts’ espousing some form of singularity. Instead, this book’s purpose is to make instrumental teachers contemplate deeply the issues surrounding SEND and to offer helpful pedagogical starting points only.”
Baker’s tone throughout the book is an enquiring and inclusive one, offering non-prescriptive advice that is always clearly rooted in established research and practice.
Exploring the content
In his opening chapter, Baker usefully explains the terminology around his topic, outlining the differences between SEND, SpLD, disabilities, and briefly explains the causes and categories of conditions his material encompasses.
He addresses common misconceptions instrumental teachers might have, such as the idea that we are unlikely to work with students who are impacted by the conditions and disabilities covered in the book. I was particularly struck by his observation that:
”Nearly every person will be disabled, including you and me, unless our lives are cut short by a serious accident or suddenly illness. if not an officially diagnosed, undiagnosed, or a hidden disability, we will likely encounter physical and cognitive deterioration in old age. It is to be expected. So, disability is the norm, not the anomaly.”
He ends the chapter by outlining the key challenges for instrumental teachers, before beginning his more detailed look at specific conditions and learning needs.
Specific Learning Difficulties: Dyslexia
Baker introduces dyslexia as “an example of a specific learning difficulty”, while briefly mentioning that dyscalculia, dysgraphia, dyspraxia, and ADHD are other examples.
Having explained that dyslexia “should be considered as multifaceted and a continuum” rather than a “distinct, single, easily self contained category”, Baker provides detailed insight and understanding of the impact this has on instrumental learning.
He then offers detailed teaching strategies, and I found his advice wise and balanced. For each suggestion, Baker includes a case study with imagined dialogue between teacher and learner. I feel sure that instrumental teachers reading this content will find this engaging. For those fresh to teaching, Baker’s detailed explanations are clearly given, and offer a full rationale.
True to his word, Baker avoids offering “pre-packaged, supposedly ‘correct’ knowledge”. For example, introducing the idea of using coloured notes (which Faber rather frugally show in grayscale with labels) he posits:
“We should neither suppose that colouring is a universally effective teaching practice underpinned by research, just because ‘expert’ teachers say so, nor assume that using it is automatically helpful”
Again, this reminder of the importance of bespoke methods for each learner is commendable, but I find myself a little torn, at times wishing the author would offer a broader range of clear, easily actionable advice.
While I appreciate Baker’s academic approach, his apparent distrust of the real-world experience of expert practitioners is somewhat disconcerting. We have much to share and learn from one another, and dismissing the observations of respected teachers potentially limits the range of insight Baker can himself offer.
But my larger disappointment with this section is that Baker does not offer any support and advice pertaining to the other SpLN he has listed. Dyslexia is, as he states, “an example of a specific learning difficulty”, but by Baker’s own logic, it cannot be seen as a typical or representative one.
Writing as a reviewer with diagnosed ADHD, the author’s suggestions pertaining to dyslexia wouldn’t generally have helped or been relevant to me. And the same point could (and I think needs to) be made for the other SpLD that Baker too briefly acknowledges. Why has he not covered dyscalculia, dysgraphia, or dyspraxia?
Autism Spectrum Condition
The next chapter addresses Autism Spectrum Condition (ASC), but surprisingly, Baker uses the older terminology Autism Spectrum Disorder (ASD), a more formal diagnostic term that still uses deficit-focused language.
It’s useful for teachers to understand that ASC is becoming the more accepted term in education, because it reduces stigma and emphasises that autism is a different way of thinking, rather than an illness. In any case, Baker helpfully explains that,
”ASD (sic.) equates to a vast spectrum of unique circumstances, so nothing can be assumed regarding music learners. It ranges e.g. from people who function very independently in society who do not immediately appear autistic (i.e. with average or above average intelligence), to those who have major learning disabilities and communication issues who will need considerable support with daily life.”
Bearing in mind this significant range of challenge, it’s understandable that Baker mostly focuses on supporting those teaching learners with more severe ASC, and I think that he does so with commendable aplomb and sensitivity. I feel that for instrumental teachers, this may prove one of the most useful chapters in the book, and it is certainly one of the strongest.
The advice on pedagogy, consistent routines, sensory distractions, language, communication, behavioural expectations, and liaising with parents is consistently clear, practical, and will be incredibly helpful to teachers.
Visual, Auditory, and Physical Disabilities
The next chapters deal in turn with three of the most common disabilities we are likely to encounter across a career in instrumental teaching: visual, auditory, and physical disabilities. Baker explains that these can result from accidents, injury, illness, childbirth, our genes, and ageing.
The chapter dealing with visual disabilities is the longest in the book, equal in length to the other two combined. A clue to the reason for this is found in Baker’s suggested further reading list: four of the seven sources he recommends are his own. Visual disability is clearly an area of special interest to the author, and his authority and insight in this chapter are especially evident.
As always, Baker begins by challenging us to expand our understanding of the condition, and reminding us of the inspiring achievements of visually disabled pianists such as Art Tatum, George Shearing, Ray Charles, Stevie Wonder, and concert pianist Nobuyuki Tsujii.
Next, he outlines the assisted technologies, score types (including Braille), and their implications for learning. He considers the merits of using notation at all, discusses differentiation, the use of metaphorical and image-based language when talking about musical expression, and ultimately encourages us to reflect on what equality means for the visually impaired learner.
Though the following chapters are notably shorter, Baker covers similar territory in his discussion of other disabilities. His chapter about teaching d/Deaf people again begins with a brief resumé of medical issues, and the value of learning an instrument. He then discusses the available assistive technologies, practical and pedagogical considerations.
Turning to other physical disabilities, he follows this now-familiar format one last time. I was particularly interested to study his table of adaptations that can be made to standard instruments, although in the case of the piano his only recommendation is to use single-hand repertoire where appropriate: an idea that I would hope any piano teacher would independently think of.
Hallmarks of a good instrumental teacher
Baker begins his final chapter by saying,
”In this chapter, it is argued that, regardless of whom they teach, core hallmarks of good instrumental teachers are the same. So unapologetically, this chapter offers some general, personal observations.”
He then lists a summary of these:
- having subject mastery
- being an advocate for music
- being an effective communicator and facilitator
- possessing a broad, inclusive view of music education
- agility in thinking, adaptability and responsiveness
- being a reflective practitioner
- appreciating one’s positionality
- showing empathy
- and being someone who is clear, and clearly organised.
I think this is an excellent summary of the personal and professional qualities to which we should all undoubtedly aspire. And he illuminates each point with depth and empathetic understanding.
The chapter is a masterful conclusion to his book.
Closing thoughts
This is an excellent and much needed book, which goes a considerable way towards addressing an obvious and significant gap in the training and understanding of many instrumental teachers. Answering many of the questions we typically have, Baker offers a wealth of insight, along with practical strategies to improve our teaching.
Teaching students with special educational needs, I have found there can be too little support or advice, and I very much wish this book had been available years ago, when I first started out.
Bearing in mind that the book is billed as “a guide for instrumental teachers”, I would have preferred it to address the full range of neurodiverse learners that we teachers work with daily. Notwithstanding this obvious gap, I feel that the book is essential reading for all instrumental teachers, indeed, that it should be required reading.
I very much hope that training organisations immediately add it to their lists as such, and that Baker’s sage advice and academic insight are disseminated as widely as possible. This is without doubt a milestone publication.
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