“When students who encounter difficulties “According to the authors, it is “While it may be tempting to

in learning are identified as having ‘special necessary to pay special consider oneself sufficiently
educational needs’ an intractable cycle is attention to every participant knowledgeable about the
formed – they are assumed to possess of the educational process; i.e., cultures represented in one’s
difficulties in learning, and judgments are education needs to be class or to consider oneself
often made based on assumptions that personalized, acknowledging completely free of bias, those
they possess all of the characteristics that people’s experiences, sentiments are usually incorrect

Zine
associated with the particular difficulty in needs, and strivings differ, and and unwise. Deep reflection and
learning. In other words, despite known that learning takes place in increasing one’s techniques for
variation between individual within any different ways and at different respect across cultures are
given group, the tendency is to assume the paces.” much wiser choices.”
Michael Behnke group members have the same learning
needs.”
STUDIA UBB MUSICA, LXV, 2, 2020 (P. 51 – Robison, T. (2020). Culturally responsive
Florian, L. (in press) Conceptualising inclusive pedagogy: 61) (RECOMMENDED CITATION) DOI: classroom management in the general
The inclusive pedagogical approach in action. In J. 10.24193/SUBBMUSICA.2020.2.03 music class: Building connections with
Deppeler, T. Loreman, R. Smith, & L. Florian (Eds.). families, part 2. General Music Today,
Inclusive Pedagogy Across the Curriculum, (International 34(1), 37-39.
Perspectives on Inclusive Education, Volume 7) doi:10.1177/1048371320909801
Melbourne: Emerald.

“Students will imitate a “When you think back on the teachers who “The key to a differentiated “It is wise to consider other
model whether it is good had a positive impact on you and your classroom is that all students variables besides content and
or not, so modeling with learning, they were more than likely are regularly offered choices grade level, especially with
characteristic tone teachers who would take the time to work and are matched with tasks students at the elementary
quality is essential…” with you and discover who you were and compatible with their individual level, such as particular classes’
knew your strengths. Those special learner profiles, educational skills and tendencies, time of
teachers welcomed you into their needs, and academic levels of day and year the class is held,
Haston, W. (2007). Teacher classroom, knew what was going on in your performance.” the classroom teacher’s style,
modeling as an effective
teaching strategy. Music life and cared about it, and most likely had the students’ physiological
Educators Journal, 93(4), 26-30. a belief that you could take on any needs, and dozens more.”
https://doi.org/10/2307/412713 challenge and succeed.” Councill, K. H., & Fiedler, L. (2017).
0 Gifted 101: Unlocking the mystery of Robison, T. (2018). Classroom management
academically gifted education. Music through lesson design: considering some
Abla, C., & Fraumeni, B. R. (2019). Student engagement: Educators Journal, 103(4), 48-56.
Evidence-based strategies to boost academic and social- often-overlooked variables to prevent
https://doi.org/ issues before they start. General Music
emotional results. McREL International. 10.1177/0027432117697005 Today, 32(1), 33-35. doi:
10.1177/1048371318793147
“Teachers must find ways to put “Today, there is evidence that “It’s easy to guide rather than “The core components of
that rich multiplicity to work in the effectiveness of control once consistent [Positive Behavior Support] are
the classroom. They can do so by collaborative learning largely expectations are established, (a) fostering students’ positive
establishing a dialogic and depends on the quality of but it’s almost impossible to do relationships and interactions
democratic teaching–learning student interaction (Dillenbourg anything but control when with peers and adults, (b)
environment, where they and Tchounikine 2007; Kobbe et consistent procedures and defining and teaching clear
attempt to engage and build al. 2007) as well as on the expectations are missing.” behavioral expectations during
upon the musical knowledge that teacher who guides students’ instruction time, and (c)
students already bring to the collaborative learning (Gillies et providing students feedback on
classroom. Culturally-responsive al. 2008). Thus, to implement Reese, J. (September, 2007). The four c’s their use of appropriate social
of successful classroom management. Music
teaching is a way to do that and collaborative learning Educators Journal, 24-29. skills throughout the school day
to empower these students.” successfully in the classroom, it (Benedict et al., 2007).”
is critical that the teacher makes
fostering beneficial student Caldarella, P., Williams, L., Jolstead, K., &
Wills, H. (2017). Managing student behavior
International Journal of Music Education interaction a priority.” in an elementary school music classroom: a
2014, Vol. 32(2) 135–146 © The Author(s)
2014 Reprints and permissions: study of class-wide function-related
sagepub.co.uk/journalsPermissions.nav DOI: Kaendler, C., Wiedmann, M., Rummel, N., intervention teams. National Association
10.1177/0255761413513662 & Spada, H. (2015). Teacher Competencies for Music Education, 35(3), 23-30. doi:
ijm.sagepub.com for the Implementation of Collaborative 10.1177/8755123315626229
Learning in the Classroom: a Framework
and Research Review. Educational
Psychology Review, 27(3), 505–536.
https://doi.org/10.1007/s10648-014-9288-9

“Modeling is a more effective “There is a common “Children’s understanding of

strategy than verbal description misconception that specific rhythmic notation was further
for teaching musical feedback means a teacher must displayed through the writing
performance. Verbal instruction deliver more or overly complex and reading of their original
may be no more effective than feedback when, in fact, specific rhythm stories. Their ability to

THE END
independent practice in helping feedback can be concise and read and write musical notation
students to perform music.” simple.” grew as they had aural, oral, and
visual experiences with a
Dickey, M. R. (1992). A Review of Research repertoire of rhythmic chants
on Modeling in Music Teaching and
Learning. Bulletin of the Council for
Martin, L. (2020). Using Synchronous and patterns that increased in
Formative Feedback to Facilitate Student
Research in Music Education, 113, 27-40. Growth. Retrieved 2022, from difficulty”
http://www.jstor.org/stable/40318509 www.nafme.org

Burton, S. (2015). Making music mine: the

development of rhythmic literacy. Music
Education Research. 19. 1-10.