MUED 376 - Choral Music, Materials & Techniques

Assignment 10S. Dr. Alice Hammel

Chapter 8 discussion questions
DUE 10/30 on Canvas!!!

Students – please read chapter 8 and respond to the discussion questions. Please craft
three discussions of your own below and submit to Canvas.

NAME__ Rachel Pennington______________

Question #1:

How do you distinguish the work for gifted students between being an “extra
burden” and work to challenge them?

Question #2:

Is there a reason why the gifted side of the “twice exceptional” learning appears
more often in art related subjects (music, dance, theatre, etc.) as opposed to others?

Question #3:

In an ensemble setting, how can the director teach the music, keeping all students
engaged and focused, while having students who may have high cognitive abilities
while also having students who may have low cognitive abilities?

Discussion questions:
1. “How can a director or music teacher prepare a student who is “twice
exceptional” for an experience that may be difficult? What strategies can be
put in place to increase the possibility that this will be a positive experience?”
a. A music teacher/ director can help prepare a student who is “twice
exceptional” for an experience, by maybe informing them ahead of
time what the event will include, and what they should expect from it.
They can also give ways of how to work through their difficulty of
learning by incorporating their “gifted” area, which can help the
student to understand in a way that would make sense to them. The
teacher can also give them strategies for helping them if they are
starting to feel overwhelmed or incapable of the task at hand.

2. “How can the six areas highlighted in this book (cognition, communication,
sensory, behavioral, emotional, and physical) be addressed in these
situations?”
a. As expressed throughout the chapter, these six areas place a high
importance on the way that the music educator handles these
situations. They must show understanding and comprehension of the
students’ needs, so they are able to better communicate, connect, and
help the student.

3. “When is it appropriate for a music educator to intervene in a situation like

this to protect a student from embarrassment, a negative experience, or his
own impulsiveness?
a. I think it is appropriate for the music educator to intervene whenever
they feel the student is about to exhibit something as listed above. I
don’t think the teacher should publicly humiliate the student, but I
think saying that they needed the students help with something, or
just asking to excuse them momentarily will give the educator a
moment to talk with the student and help them however needed
before the student gains a negative experience.

4. “What are the signs that a student is frustrated or struggling in an honor

ensemble situation?”
a. As it talked about in the “Twice Exceptional” section, the same can
apply for students in honors ensembles, where they demonstrated
uneven learning needs labeled as underachievement, laziness, or
behavior disorders. (Hammel & Hourigan, pg. 180)

5. “How can a music educator prepare for the inclusion of a student with
enhanced cognition in the music classroom or ensemble?”
a. A music educator can prepare for the inclusion of a student with
enhanced cognition by first understanding their individual needs. By
learning their strengths and their weaknesses, they can know in what
ways will be beneficial to the student and how they can assist them
the most while in their classroom or ensemble.
6. “What specific strategies would be employed in a general music classroom
for a third-grade student who has already mastered the curriculum for
elementary general music?”
a. In my opinion, I would first go through each specific unit to make sure
it wasn’t just specific sections that they knew well and struggled in
others. If they still fully understood the entirety of the curriculum, I
would create an individualized plan for this student so they would be
challenged and still learning something in their class time.

7. “How can secondary music ensemble conductors differentiate instruction in

small or large ensemble setting to meet the needs of students at various
levels of cognitive ability?”
a. This discussion question related to one of my questions at the top, so
I’m having a little bit of difficulty finding ways of doing this in the
classroom, however, I think that by creating separate assignments for
students who may be way above the curriculum being taught that
would still challenge them and keep them engaged. While at the same
time, creating assignments that are wound back for students who may
have low cognitive ability so they also feel accomplished and proud of
the work they are doing.

8. “Which strategies outlined in Chapter 4 would be effective when working

with students who have enhanced cognition abilities and also have
challenges in the area of communication?”
a. I think that’s the sections including “understanding adaptations,
accommodations, and modifications” as well as “teaching music to
students with communication challenges”. I think these two
categories will give the most insight, because they talk about how to
accommodate and adapt to students with learning difficulties, or
enhanced learning abilities, as well as students who are challenged
with communication.