(dis)Ability and Music Education: Paralympian Patrick Anderson and the Experience of Disability in Music

Bell, Adam

doi:10.22176/act16.3.108

Cited by 12 publications

(9 citation statements)

References 12 publications

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“…Individuals' experiences of disabilities in music education contexts demand collective questioning of music education policies at various levels. Bell (2017) argues that the music educator should focus on developing musical ability; however, this responsibility should not fall solely on the individual music educator. Instead, the entire education system should contribute to promoting students' abilities.…”

Section: Discussionmentioning

confidence: 99%

“…It seems that special music education focuses more on the curricular or organisational level of educational policies, that is, addressing a specialised curriculum or school for those with special needs (on the definition of special education , see Vehmas, 2010, and Kauffman et al, 2017). Some scholars even have argued that music education still aligns with the medical model of disability (Bell, 2017; Lubet, 2010), implying that music education emphasises interventions of various kinds through which the educator can make the student fit the educational structures.…”

Section: Conceptualisations Of Disability In Music Educationmentioning

confidence: 99%

“…She considers democracy to be an experiment through which it is possible to radically reconstruct the envisioning and implementation of inclusive music education (Laes, 2017). Along similar lines, Darrow (2015) and Bell (2017) have taken further steps by applying key concepts in disability studies—such as the medical and social models of disability, and disability identity to the field of music education. Similarly, Pickard (2021) has mediated the medical and social interpretations of disability, and proposed an informed, strength-based approach to instrumental tuition of students with Down Syndrome while criticising the concept of differentiation preserving the dominant, ableist discourses in music education.…”

Section: Conceptualisations Of Disability In Music Educationmentioning

confidence: 99%

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Contesting music education policies through the concept of reasonable accommodation: Teacher autonomy and equity enactment in Finnish music education

Kivijärvi

Rautiainen

2020

Research Studies in Music Education

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This theoretical article focuses on reasonable accommodation in education by offering conceptual tools that could prove beneficial in resolving policy concerns for equity in music education. Providing reasonable accommodation entails making necessary and appropriate modifications that may include depending on the circumstances, physical or interaction-related changes. From the perspective of teacher autonomy, this article focuses on two aspects of reasonable accommodation: (a) its definition and (b) its implications for music education practice. Responsibility for reasonable accommodation is considered in the context of Finnish music education through three illustrations that address matters such as music notation and instrument selection. We conclude that the concept of reasonable accommodation offers students and teachers tools to prevent disadvantageous musical and pedagogical conventions from being enforced at the level of the local curriculum and through teachers’ actions, potentially resulting in inequities and discrimination.

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Section: Discussionmentioning

confidence: 99%

Section: Conceptualisations Of Disability In Music Educationmentioning

confidence: 99%

Section: Conceptualisations Of Disability In Music Educationmentioning

confidence: 99%

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Contesting music education policies through the concept of reasonable accommodation: Teacher autonomy and equity enactment in Finnish music education

Kivijärvi

Rautiainen

2020

Research Studies in Music Education

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“…In recent years, some researchers have drawn on disability studies literature to critique the prevalence of ableism – discrimination based on ability – in music education (i.e., Abramo, 2012; Abramo & Pierce, 2013; Bell, 2017; Dobbs, 2012; Parker & Draves, 2017; Pickard, 2019; Rathgeber, 2019). As a field, music education prides itself on championing diversity and inclusivity, but disability is often omitted from these discussions (Laes & Westerlund, 2018), and people with disabilities are treated unequally in music education settings (Darrow, 2015).…”

Section: Review Of Literature: Music Education Hacking and Disabilitymentioning

confidence: 99%

Hacking, disability, and music education

Bell

Bonin

Pethrick

et al. 2020

International Journal of Music Education

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The purpose of our study was to examine how hacking – as discussed and displayed by participants of Monthly Music Hackathon NYC – could inform making music education practices more accessible and inclusive, if at all, for people with disabilities. Free and open to the public, Monthly Music Hackathon NYC hosts non-competitive community-based events in which participants – musicians, educators, coders, and software/hardware designers from beginner to expert – work on projects collaboratively over the course of a day to address real-world problems posed by stakeholders in their communities. Our research team consisting of the principal investigator and two research assistants attended and videorecorded the events of Monthly Music Hackathon NYC’s ‘Music AccessAbility’ hackathon. In this article, we detail what constitutes hacking at this event and how participants approached hacking disability. We discuss the potential of hacking in music education to create a more accessible and inclusive field, and the importance of championing a disability-led design model as the ethical way forward.

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“…This re-framing of disability views bodily diversity as something to be celebrated and "claimed" within one's identity (Kafer, 2013). Critiques of the social model have stated that whilst the model addresses body diversity (Haegele & Hodge, 2016), its political and ideological focus fails to acknowledge that diagnoses can support agency through offering practical access solutions in our everyday lives; for example, employing a support worker or the use of assistive technology (Bell, 2017). Further commentary alleges that intersections of marginalization such as gender (and non-conforming), ethnicity, and socio-economic backgrounds are unaccounted for in the social model (Campbell, 2009).…”

Section: Conceptualising Disabilitymentioning

confidence: 99%

The Great Reveal: The Experiences of a Registered Music Therapist with a disability: an arts-based research project

Kalenderidis¹

2020

Voices

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Abstr Abstract actDisability is a human phenomenon experienced not by a small minority but a large percentage of our global population. Disability is encountered by people of all ethnicities, religions, genders (and non-conforming), sexualities, socio-economic backgrounds, and ages. Recent music therapy literature has advocated for a diverse workforce and others describe the value in music therapists adopting an intersectional lens, which considers the interconnectedness of social and political identities. However, there is limited dialogue featuring lived experiences of music therapists of underrepresented identities, such as disability. This research sought to canvass the experiences of Australian Registered Music Therapists who identify as having a disability and to explore how their disability may impact or inform their practice. One Australian Registered Music Therapist (RMT) who identified as disabled was interviewed. The student-researcher engaged with arts-based research through music composition to allow an embodied analysis and to present results in an accessible format. Several themes were revealed, including; hidden disability, disclosure of disability, alliance, positive transference, visibility, and identity. These findings demonstrate the importance of lived experiences in the music therapy community and calls to amplify diverse voices of those with disabilities and other intersecting identities within our profession. Acknowledging the work of disabled music therapists may further challenge ableist attitudes in our society and provide options to participants who might prefer to work with therapists who have relevant lived experience. K Ke eywor ywords: ds: disability, disabled identity, lived experience, disclosure, music therapy, arts-based research R Rationa ational le e As a person with a lived experience of disability, I chose to explore this topic for my music therapy minor thesis. My music therapy studies were diverse in exploring tra-

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(dis)Ability and Music Education: Paralympian Patrick Anderson and the Experience of Disability in Music

Abstract: What does it mean to experience disability in music? Based on interviews with Patrick

Cited by 12 publications

References 12 publications

Contesting music education policies through the concept of reasonable accommodation: Teacher autonomy and equity enactment in Finnish music education

Contesting music education policies through the concept of reasonable accommodation: Teacher autonomy and equity enactment in Finnish music education

Hacking, disability, and music education

The Great Reveal: The Experiences of a Registered Music Therapist with a disability: an arts-based research project

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