Including democratic principles in a traditional public school general music program can be challenging, but the benefits are significant, including greater student independence and motivation for learning. Democratic practice is both an approach to teaching and an outcome of the experience. It prepares students to be participants in society by providing space for student voices and encouraging students to think deeply and ask challenging questions. It also involves negotiating a rebalance of control in which the music teacher is more of a teacher-facilitator, learning alongside the students and allowing their choices and decisions to be a driving force in the learning process. This article presents one model for incorporating democratic ideals in middle school general music.

This 3-year ethnography explored the culture of the Academy of Music and Arts for Special Education (AMASE), a university undergraduate volunteer organization offering music instruction for individuals with disabilities. We examined the organization and its impact on students, parents, and volunteers through the lens of the social relational model of disability. Findings clustered around three pillars of organizational values: ability, community, and service. The organization’s philosophy of ability cultivated a community that acknowledged the impairments of the students while actively seeking ways to break down the socially imposed barriers to musical learning that were disabling to them. The program filled a need where access to music education had previously been limited or denied. Undergraduate volunteers’ experiences raised their awareness of inequity for people with disabilities and motivated them to consider ways to serve this community in their future careers. Findings illustrate the potential impact of a social relational model on music education philosophy and practice, suggesting a need for music educators to challenge implicit beliefs about students’ capabilities and actively inquire into the ways in which music education contexts may be inherently disabling.

The purpose of this multiple-case study was to explore the experiences of two students with autism spectrum disorder (ASD) in a full-inclusion music education context and how those experiences aligned with stakeholder perspectives regarding the role of music education for this population. Three themes emerged from the data: The Not-So-Atypical Benefits, A Focus on Strengths, and A Culture of Inclusivity. Factors related to the educators and school community had impact on these students’ experiences and are further explored through the lens of an ethic of hospitality. Documenting educational practices and elucidating the beliefs of stakeholders (including music educators, the special education team, administration, and parents) regarding music education for students with ASD in an inclusion setting may offer insights into best practices while interrogating perceptions regarding unique benefits for this population.

While a significant body of literature is available offering recommendations for teaching music to students with autism spectrum disorder (ASD), there is a lack of supporting empirical research. The purpose of this literature review was to examine empirical research conducted between 2013–2019 that studied best practices for teaching students with ASD in general education settings and how this research could inform future lines of inquiry in the field of music education. These findings are examined using the tenets of Disability Studies in Education. I reviewed 47 publications from general education that provided empirical support for best practices for teaching students with ASD. Findings are organized in four sections: “Teacher-Directed Approaches to Instruction,” “Intervention Tools,” “Peer-Mediated Instruction,” and “The Autistic Voice.” Examining this literature provides insights into unique research methods pertaining to data collection with students with ASD and future research related to instruction and support for students with ASD in music contexts.