Tuesday, November 29, 2011

Positive Reinforcement


I will never forget the day that I was working with a non-verbal student with autism and I was given a lesson in positive reinforcement. My training as an ABA Therapist was going well and was entering its sixth month. Stating that my student was non-verbal is not completely accurate; he did have a lexicon of approximately 15-20 words. These words were what we where working on when his progress was being evaluated by a senior staff member. What we were working on in particular was his articulation of these words and an improvement in his pronunciation of them. I was instructed to model the word and he would repeat it. I would then evaluate his response and determine the degree to which he had successfully articulated it. This was very challenging for my student and his performance data showed that progress was not being made adequately. Like all of the Therapists in my class I was determined to help him succeed. I learned how to model the words correctly and sat-in on previous lessons to be able to accurately determine what constituted a correct response. And yet… his data indicated that there was not sufficient progress being made.



            It was at this point that the senior staff member was called in. Well, this of course added another level of pressure and I really did my best to help the student verbalize these words. I was well aware of the very important concept that it is ultimately the teacher’s responsibility to help the student succeed. Test results and student data reflect the teacher not the student. With the senior staff members (yes, now there were two!) to one side and the student and myself ‘knee-to-knee’ I modeled the word…the response was not correct. I immediately looked away for three seconds (the current response cost) and tried again. There was no change in his response. At this point, one of the senior staff members stepped in and got down to the student’s level and said, “This is hard, isn’t it?” That was the turning point for me and the time at which I felt that I truly understood the concept of positive reinforcement. After this trial, they suggested several ways to change the teaching methodologies and adjust the reinforcement, but it was that one statement that caught my attention the most. I truly realized, then, that although I was delivering reinforcement properly when a student answered correctly or behaved appropriately; I did not truly appreciate just how difficult this skill must have been for the student. I was very aware of my responsibilities and how to adjust my level of reinforcement and the concept of negative vs. positive reinforcement. Yet, these concepts are difficult to institute if you do not truly comprehend how challenging these skills, which many of us take for granted, really are for our students. 



            The concept of positive reinforcement is built on the basis of compassion and understanding. At any given time, an individual is most likely doing something which you can reinforce. My student in the example above was trying really hard to answer correctly. Without the presence of this attempt, there is no chance that the student can make progress in the future. Instead of internalizing incorrect responses and perhaps becoming frustrated, teachers can reinforce a student’s approximations and attempts at correct responses. Although it is important for the student to answer correctly, sometimes it is more important to have the student be successful in the long run. Teachers can reinforce a student for trying, or sitting nicely. If the student is learning a very challenging skill, teachers can ‘switch gears’ and quickly review a less challenging activity to allow them to be reinforced for less difficult responses. Attention is a driving force behind many students’ behavior and if a teacher overlooks their positive behavior for too long, they may decide to give inappropriate behavior a try.    





            Shaping behavior through positive reinforcement becomes more and more natural the more that you practice it. At first, I was amazed at the level of reinforcement being delivered to the students in my class. It seemed like every other minute they were being given something or congratulated or tickled. I soon realized how powerful it was when this level was (temporarily) reduced when the student displayed inappropriate behavior like aggression or self injurious behaviors for example. I began to notice that this response to the student’s inappropriate behavior was almost the mirror opposite of a typical reaction to challenging behavior. Teachers’ attention levels were being decreased when a student acted inappropriately as opposed to increased. This was truly a reversal of long-held doctrines for myself and it contradicted most of my experience in the public and private school system. Yet… it seemed to work! Special education professionals understand that student’s instructional material and reinforcement schedules have to be individualized. Ultimately, an individual’s behavior dictates how much or how little reinforcement is appropriate for them. Instructors should always consider what behavior they are seeking to increase as opposed to decrease. In other words, if a student is constantly standing-up and walking around inappropriately, the teacher should look to reinforce his sitting nicely. Some may say, “Yes, but he is supposed to sit during class so why should I reinforce that!” It seems that in our society we have been conditioned to only reward outstanding behavior, above and beyond the expectations of authority. Sometimes, this is appropriate but remember that the student’s behavior should dictate the level of reinforcement- not your expectations of the student.

            after the introduction of it. I failed to mention that I am also keen on all-you-can-eat buffets. If you caught me right after one of these buffet outings I can assure you that M&Ms would not be high on my list of reinforcers! Therefore, what is reinforcing is always changing, because we are all complicated and changing individuals. As to the amount of, or appropriate nature of the reinforcement – this also needs to be individualized. My early work with students with autism involved children and young adults ranging from about 9 to 16 years old.  Even in this age range there is a large discrepancy in the nature of the reinforcement being delivered. Exceptional situations excluded, the nature of the reinforcement should be relative to and reflect the age of the student. There are many obvious reasons why this is so but you have to realize that every student’s reinforcement schedule has had to be systematically adjusted as the student grew older. At the same time, he/she is entering into adulthood and continuing to be challenged with daily social and scholastic endeavors. Toddlers and younger children, generally, require a completely different set of reinforcement techniques which are much more direct and rapid fire in nature. Ultimately, teachers benefit from forming a history of reinforcement with a student which allows them to be more successful at making these decisions based on past experiences with the student.




            Students are not the only ones receiving reinforcement for certain behaviors in a learning environment, either. Teachers and parents need to be keenly aware of the fact that their behavior can also be shaped by a student’s responses. Take, for example, a student who is working on brushing his teeth independently. This particular skill is challenging for the student and the teacher has found that when they squeeze the toothpaste up to the top of the tube before he begins, it helps him to be successful. Of course, tooth brushing is ultimately an independent activity which should not require any assistance. If the practice of completing this rather crucial step is provided for too long, the student may become dependent on this prompt as opposed to doing it independently. At the same time, it can be very reinforcing for the teacher to do this because it helps him to be successful and is a direct way to produce results. This situation is not always as apparent and easily discernible. Therefore, parents and teachers should always be asking themselves if their current course of action is based on what is best for the student or what is most reinforcing for them at that particular point in time.  Understanding and implementing concepts regarding positive reinforcement often requires a shift in ‘common knowledge’ concerning education and motivation. Not surprisingly, the more success you encounter with these concepts the more you will want to use them. So then, using positive reinforcement is positively reinforcing!      

Tuesday, November 22, 2011

Meet Lauren! Our New Teacher using The Young Method

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I have been teaching music for 3 years and I have been playing music for 15 years. I really enjoy working with students of all ages and it is a blessing to share my knowledge of music with others.


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1800-997-7093


Testimonials

“This summer it will be a year since my son started learning the piano using your program. He really loves his music lessons; every week he is waiting for Tuesday – music day with Chrissy! It wasn't easy for us to find something that would work with his PDD-NOS. He absolutely loves Miss Chrissy and enjoys working with your books and…he is so proud to advance…”
Dina
HoHoKus, NJ

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"This seminar was very helpful to me. It really helped me to know that everyone really does learn at different levels...It also helped me to consider that my students might understand topics, but lack the mechanism to explain through expressive language. I feel more confident in my abilities to teach children/students with special needs. "
Sarah
Piano Teacher

 

Friday, November 18, 2011

Meet Jodi! Our New Teacher using The Young Method.


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I am currently the President of the New Jersey Music Teachers Association Collegiate Chapter of Westminster Choir College where I am working on my Masters of Music in Piano Pedagogy and Piano Performance. I hold my Bachelors of Music from Virginia Commonwealth University where I also studied psychology, voice, and guitar. I have worked with students of all ages, skill levels, and with different musical goals. I make sure the lessons are individualized to meet these goals and that they are fun, creative and the students develops a connection and love for music.



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1800-997-7093



Tuesday, November 15, 2011

Eight Reasons Why Your Toddler with Autism Should Start The Piano


The discussion on whether or not to begin piano instruction with a child typically starts around the age of 5 or 6 years of age. This is largely due to the perception that the piano is difficult to learn and that it is a more ‘refined’ instrument. When you consider that the piano is truly a percussion instrument, it is very durable and it offers instant feedback to the player: you may begin to change your view! While these eight reasons can be applied to all young children, the possible benefits associated with an autistic toddler exploring the piano can be even more important.    
 

1. Give Them a Head Start
 

When a 5 or 6 year old student begins to learn an instrument, a lot of time is spent on the basics; such as sitting appropriately, focusing on the page and using rhythm. By starting to teach to these basics earlier on, the student will be well on his way to learning simple songs and using both hands while the former student is just starting to explore the instrument.     


2. They Can Do It!


If your child can match – they can play the piano. It really is that simple!



3. You Can Do It!


Yes, even if you have no musical background! After all, these matching exercises are, relatively, not complicated and exploring more advanced material would most likely be counterproductive here.


4. Help with Focusing


Even though your toddler will most likely not be practicing for extended periods of time, there are still benefits associated with starting the process. The act of designating short time periods which are ‘only piano time’ will begin to instill a sense of routine in the child. These time periods can gradually be increased over time.


5. Great Way to Introduce Other Instruments


Certain concepts such as reading musical notation and rhythm are shared by all instruments. Since learning the piano will eventually introduce both Treble and Bass Clef note reading skills, almost every other possible instrument will be available to them in the future.
 

6. Less Competition


School and an increasing amount of peer related activities will very quickly become a major competitor with any extracurricular activity. In these early stages of the child’s development, you can devote more time to the piano and still have time to just have fun!    

 7. Social Skills Development
 

While the piano may seem like a stand-alone instrument, it can eventually open the doors to many community based activities. This is especially important in toddlers with autism since many individuals on the spectrum have challenges, later on, with expressive language and socializing. Attending recitals, professional performances and interacting with other musically inclined peers are all great ways to increase social skills development.
 

8. Changing Perceptions


Like it or not, many people still have a distorted view of just what individuals with autism are capable of. Learning how to play the piano can have a huge impact on the perception of siblings, family and friends and society in general.


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Friday, November 11, 2011

Meet Alexander! Our New Teacher using The Young Method


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Alexander, a native of New York, holds a Bachelors and Masters degree in Piano Performance from the Crane School of Music-State University of New York at Potsdam. He has performed in many renowned venues including Zámecek Recital Hall in the Czech Republic and the Marcella Sembrich Opera Museum in upstate New York. Mr. Lombard has been awarded scholarships to study and perform at a number of prestigious music programs including the Aspen Music Festival, the Bowdoin International Music Festival, the Chautauqua Institution and the Hot Springs Music Festival. He was also a Piano Teaching Assistant at the New York Summer Music Festival. Mr. Lombard currently lives in New York City and is in high demand as a piano teacher. He also holds the position of Executive Director at the Lake George Music Festival.


My studio in Manhattan and private, in-home lessons throughout Manhattan, Brooklyn and the Bronx.
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1800-997-7093


Meet Allison! Our New Teacher using The Young Method


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Mother of three boys under 8, Masters Degree in Special Education, have taught for over 12 years. I love meeting new children, learning about their strengths and working to reach the highest goals possible.


Morris, Warren and Sussex Counties
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Contact Allison!
http://www.innovativepiano.com/Allison.html



1800-997-7093


Thursday, November 10, 2011

Errorless Teaching

Consider a student who is first learning the alphabet. This is commonly done by pairing syllables to written letters and helping the student independently identify and associate these concepts with each other. As a teacher or a parent, how would you start this process? Would you lay out all the letters in the alphabet and ask them to find an F? Of course you wouldn’t! Most teachers would begin by isolating a single letter and just teaching to that concept, and then eventually move the student on. This is an example of reducing the amount of distractors.  A distractor is anything which does not have to do with the current teaching element being addressed. Distractions are part of everyday life and are often part of the teaching process – but initially, many students will benefit from the removal of these distractors to allow them to be successful, gain confidence and be reinforced. Reducing the amount of distractors is the first step, but what if a student is still not successful?



            If a student makes a mistake this implies a few things; he may not comprehend the material, he might not yet be independently able to complete the task and/or there could be behavioral challenges which are inhibiting his response. The ‘and/or’ in the previous sentence is important because students with autism and other learning challenges often have a complicated combination of challenges which may be affecting his/her responses. Let’s consider behavioral challenges. A student may respond incorrectly because; she could be prompt-dependent, i.e. doesn’t respond independently, she may be seeking attention since she has received more attention in the past for incorrect responses, she may be frustrated, distracted, hungry, excited, tired, bored or simply testing the teacher. Since there a lot of ‘may’s’ and ‘could be’s’ in a discussion on why a learner is not being successful - errorless teaching procedures reduce the chance that the previous myriad of possible variables will negatively effect the student’s response. By minimizing the chance that the student will respond incorrectly (at first) the teacher is building a foundation of correct responses for the student to draw from. This also allows the teacher to initially reinforce the student for these prompted responses which will help him associate learning with fun and enjoyable situations.



            Students can be prompted by changing their environment, i.e. in the above example of distractor reduction, or by physically helping the student to respond correctly. Physically prompting, in respect to errorless teaching, would be accomplished by completing the desired response with the student by having them respond correctly. For example, when teaching to colors, a teacher could request, “Please point to red”. The student would be assisted by physically helping him point to the red item in an appropriate amount of time. The teacher would then reinforce that prompted response. Without this level of reinforcement, a student will be less likely to respond independently in the future when he/she is not being prompted. This form of prompting works well with certain activities but other skills like language and verbalization cannot be physically prompted in this manner. Here, repetition and the modeling of correct responses are more effective.  Physically prompting a student is, of course, not sustainable in the long term because the goal of most skills is for a learner to independently complete an activity. At what point, though, does a teacher know when to stop or begin to stop prompting a student in this manner? After using errorless teaching procedures for an appropriate period of time, teachers can analyze the amount of progress being made by removing the prompt and making the exact same demand. Based on the student’s response without being helped, the teacher can then determine whether more teaching trials are required or the prompts can be faded. The process and extent to which these prompts are faded is completely dependent on the student and his un-prompted responses. Reinforcing future attempts and/or independent responses is extremely important in the student’s long-term success and ability to sustain and generalize these skills.



               Learning a new language can sometimes be challenging. One way to help learn some of the names of everyday objects is to label the items in your room or house with the word in the other language. This is a form of errorless teaching since it (initially) eliminates the chance for incorrect responses. Not surprisingly, these items will not be labeled in such a manner when speaking with an individual using this other language; so these labels or prompts will have to eventually be removed. Prompts such as these can be difficult to fade if they become embedded in the learning process. Removing then as soon as possible, or systematically fading them over a relatively short period of time, will reduce your dependency on them and allow you to more independently recall the names. One way to begin to fade a prompt such as this is to cover a letter or part of the word with tape. When you are comfortable here you would cover more and more of the word until it is completely unreadable. These and other forms of errorless teaching procedures can be very helpful to all learners – but they are especially beneficial for students on the autism spectrum. The key points with all errorless teaching methods are; the subsequent fading of these prompts, providing adequate reinforcement and the goal of independence.


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Wednesday, November 9, 2011

How to Create a Token Board

Token Boards are a great way to motivate someone and clearly display what it is that they are working for and how close they are to getting it. While token boards are commonly used to motivate younger, typical students and some students with autism, the complexity and uniqueness of your token board is only limited by your imagination. The more individualized it is to the student, the more likely it is that the person will respond to the system.


The Basics

 All token boards follow a similar pattern and can be divided into three sections:

  • The reinforcer section
  • The ‘tokens to earn’ section
  • The ‘tokens earned’ section


Token Board



            The reinforcer section represents what the student will receive after he earns all of the tokens. This can be an image of an item, a certain amount of time to access something, an activity, a choice, music or time with a friend. The tokens to earn section contains the pieces or tokens which each represent a step toward the reinforcer. The tokens earned section should be clearly divided from the ‘tokens to earn section’ to make it clear how much progress has been made or needs to be made before the reinforcer becomes available to them.


Choosing the Materials
      

            What material you choose to construct your token board out of depends on what the student you are motivating likes. For instance, one of my students really liked dinosaurs.  After finding an appropriate dinosaur image, I enlarged it, glued it to some cardboard and attached small Velcro pieces to the back of each piece. When the pieces are jumbled it was even more fun for him to earn these pieces to find out what dinosaur it was! Sometimes, the actual reinforcer (or part of it) can act as the token board itself! I usually try to build my token boards to last because you never know when you may use it again or change it slightly to use with another student. Lamination is a good way to create long-lasting boards and tokens that can grow with all of your students. Otherwise, your materials should be constructed out of rigid material such as cardboard or heavy weight paper.  


The Time-frame and Ground Rules


            How often you deliver a token depends on the behavior of the recipient. Generally, there should be a higher frequency of token delivery for appropriate behavior and task completion. Also, there is no rule which states that you have to only deliver one token at a time! Once the tokens become significant, giving multiple tokens for outstanding behavior is a great example of differential reinforcement and can be highly motivating.  Removing a token (as a response cost) for certain behaviors can also be a crucial way to make it clear that some behavior is unacceptable. If the student does not consider these tokens significant yet, though, these techniques will have little consequence.




Change it up!


          Finally, don’t forget to change your token board periodically and adjust it to your students’ current preferences. Last month’s favorite animated movie can quickly lose significance and be replaced by his, now favorite TV show. The easiest way to find this out is by simply observing what your student chooses to read, play with or talk about and steer the board to those topics. Sometimes, if you have created a ‘universal’ type board, you can easily change the tokens to reflect these changes and keep the board fresh and engaging for them.



Tuesday, November 8, 2011

Five Signs of Satiation

Satiation, or the state of being fully satisfied with something to the point that your desire for it is gone or greatly diminished, can be an issue with ABA style instruction. It can also be challenging because instructors may not identify the learner’s resulting behavior as being due to satiation. This situation is frustrating, especially when working with a non-verbal student or one displaying challenges with expressive language. Being aware of these five variables which may indicate satiation, could help teachers identify it and introduce novel and more reinforcing items/activities.   


1)      An increase in a student’s challenging behavior


While this is not necessarily due to satiation issues, students can often become frustrated when reinforcement levels drop or are eliminated. Even though there is a reinforcer present, it is not desired by the student and will not be helpful in producing appropriate behavior.

2)      A student’s acute interest in other items/activities



Here again, it can be easy for teachers to dismiss a student’s interest in something else during instruction as being “non-compliant.”  In actuality, he may be telling you that the video game he was earning is now not preferred and he is interested in earning that football. A simple contingency statement, such as, “When you earn all of your tokens you can get the football” could redirect his attention.


    3)      A lack of choice in the students DRO or Token Board re enforcers


The easiest and most effective way to decrease the chance of satiation occurring in the first place is to provide a good range of novel possible reinforcers. This can be done by including various pictures or names of items/activities on the student’s Token Board (commonly called a DRO or Differential Reinforcement of Other Behaviors). An imaginative variety of choices will benefit the student the most and they may surprise you with their choices!



4)      Non-compliance or an excessive delay in responding



Not answering or not complying with a request could indicate a lack of interest due to the lack of a viable reinforcer.


5)      Overall time spent earning a specific reinforcer


Lastly, the total time that the student has spent earning a particular reinforcer will generally indicate when to rotate it out for something new. Ideally, this should be done prior to complete satiation and therefore the student may still be motivated by the item/activity. This is fine because you can always reinsert this back into the choice list to allow the student to choose it in the future.


It should also be pointed out that using an effective reinforcer is also reinforcing for the teacher as well. If having your student earn a certain movie has greatly motivated him in the past, it is very tempting to continue to use this item to produce the same results. A robust and often changing choice list is the best way to avoid satiation issues.   

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Monday, November 7, 2011

Getting Certified in The Young Method!

  • Paths of Instruction
  • Data
  • Classical Piano Education Techniques
  • Reinforcement
  • Prompting and Prompt Fading
  • Generalization
  • Transitioning Students on Path 1
  • Transitioning Students on Path 2
  • Transitioning Students on Path 3
"Helping students reach and continue on Path 1 is a main goal of the program. Path 1 leads to truly typical piano instruction material and is therefore the most challenging. One of the key factors in helping students continue to meet criterion for Path 1 instruction is to focus on the student's ability to read musical notation. There are various prompts that we will introduce and systematically fade, that will help shape this skill. The Treble Clef Board is the first tool used in this process, followed by flashcards, The Bass Clef Board and ultimately the notes on the song pages themselves. As students learn and meet criterion on the various note designations, teachers should institute a maintenance data schedule to help the student retain these successes and acquire new skills in this area."
Excerpt from the IPI Certification Manual



Receptive and Expressive Language

Some students with autism have challenges with receptive and/or expressive language skill acquisition. Understanding how this affects the dynamics of communication can be crucial when teaching or interacting with individuals on the spectrum. While every person with autism is unique, here are some guidelines when it comes to this:
 

  • “If I don’t respond, it doesn’t mean I don’t understand.”


Making the assumption that ‘not responding’ indicates ‘not understanding’ can be misleading. If an individual has challenges with expressive language, he may very well understand what you are asking him, or stating to him, or saying in his presence.  



  • “It doesn’t help when you say it louder.”


Barring any auditory challenges the individual may have, speaking in a louder tone of voice will most likely not illicit a different response from them – and it is usually considered inappropriate.

  

  • “I can say, “Thank you” in different ways.”


If you know someone with autism who has expressive language challenges, you will learn to pick-up on their more subtle responses. Work on helping him develop more language, but also learn to understand and accept these communications as well.       


  
  • “I may be able to…if you ask me the right way.”

 Many skills and activities don’t require a verbal response if the learner is directed in the appropriate manner. When working on Math, for instance, asking a student, “Show me which number is larger” or “Write down the larger number” can be more effective than, “Tell me which number is larger.” The latter way of asking requires a verbal response from the student, which could be much more difficult than the math problem itself.


While it is important to work on developing a student’s receptive and expressive language skills, it is also important to understand, and react appropriately to, the individual’s current ability level in this area. There is always a fine line between requiring language from a student (to help them develop the skill) and accepting their approximations. Knowing how to balance these considerations will create a more effective teaching environment and help avoid frustration.

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Sunday, November 6, 2011

Objective vs. Subjective Music Education

The goal of this piece is not to tout the correctness or incorrectness of either objective or subjective music education teaching styles. Rather, its attempt is to clearly depict their differences and the situations in which each, individually or in conjunction, may be beneficial for the education of students with autism. Music is, of course ultimately, an art form which is driven by a performer’s ability to emote and interpret a piece of music. Assessing an artist’s performance is, perhaps, the definition of a subjective judgment, but we are not dealing with artists…yet. We are dealing with students of an art form. A student’s performance needs to be shaped and more clearly defined, eventually allowing them to relate to the instrument as a conduit for his expression and exploration. To a certain extent this is an ever continuing process since we are all growing and changing as human beings. In respect to the early education of students, though, each response can be objectively measured and analyzed. “But, why do you need to objectively measure their performance?” you may ask. First, let’s define what objective and subjective measurements are and how they are used.


             An objective measurement is one which is independent of the teacher’s individual perception of what the answer is. For instance, two separate piano instructors may listen critically to a student’s performance and ultimately come to two, very different conclusions in respect to the student’s interpretation and adherence to the fundamentals of piano performance. This is not so much a misunderstanding or radical divergence in the teachers’ knowledge of core piano education principles; rather a personal and subjective assessment of the student and what constitutes a correct response. To be clear, all teaching is based on shaping and having teachers accept approximations made by a student. Teaching is very subjective in nature, while assessing the results of these teaching efforts should be objective in nature. The question then arises, “How can teachers objectively assess a student’s performance if art is fundamentally a subjective form of expression?” The answer, of course, is that the focus of early music education is much more associated with execution as opposed to interpretation. Therefore, it can be clearly and objectively measured whether or not a student independently depressed a particular key of the piano or identified a musical note correctly.

            The reason that objectively measuring and analyzing a student’s early performance is so vital is twofold. By not initially being objective, teachers may be inclined to 1) assign unrealistic goals and objectives for a student or 2) create an unchallenging and stagnating teaching environment by withholding more difficult material. In this discussion, concerning students with autism, both situations are possible but the latter is much more of a likely phenomenon. For many teachers, without prior special education experiences to draw on, it is quite understandably common to base a student’s future curriculum on certain challenges that the student has currently. For instance, if a student has not yet learned how to read, exploring the skill of reading musical notation may seem out of reach for them and is then withdrawn. Alternatively, another student may display fine-motor challenges which could inhibit his dexterity at the piano. In both of these scenarios the student very well might not be able to execute the skill in question at first, but this should not effect the teacher’s decision to begin instruction on that skill and measure the response.  



             As previously mentioned, when teaching (as opposed to assessing progress), instructors correctly use a subjective analysis of factors to help the student succeed. This practice is often based on a teacher’s intimate knowledge of the student, his environment, his behavioral and comprehension challenges and previously successful teaching methodologies. For instance, after objectively determining that a student has met the criteria for the current phase of instruction, a teacher decides that the next and more difficult phase of instruction should commence. Ten minutes into the lesson, the student presents behavioral challenges and the teacher subjectively determines that this more difficult phase would increase the student’s frustration level at this point and delays the introduction until tomorrow. In respect to another student, this inappropriate behavior may be related to task avoidance and the determination to continue with the more difficult phase of instruction would be made. Both decisions may be appropriate, it simply depends on the student and the situation.

             Objectively measuring the early performances of a student at the piano is very plausible; it can be clearly determined whether or not the student depressed a certain key of the piano or played a particular note with his left hand for example. As the material systematically becomes more difficult, though and variables such as dynamics, tempo and artistry become more of a factor, it is more and more challenging to objectively assign a numerical value to the performance - which is based on the execution of each variable. This should not be surprising since the student’s performance is now (at least in part) approaching an artistic expression. At this point, a teacher should use their experience and knowledge of the instrument to make a subjective analysis of the performance. Here, the student is guided by the teacher’s individual perception         

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Defining Success

All education professionals need to be flexible. This is especially true when teaching students with autism. During a half-hour piano lesson an instructor may be required to drastically change their reinforcement schedule, replace the current reinforcer(s) altogether, further individualize the material for a student or decide that behavior reduction has become an immediate priority (as opposed to the instructional material). What works for one student may not work for another and what doesn’t affect one student’s performance may drastically improve another’s. And then… there’s what will work for tomorrow’s lesson. There are very few rules and many, many guidelines. While defining a successful teaching strategy for each student is challenging, determining what ‘success’ is for that student can also be arbitrary and hard to nail down. Is a student successful when they play a song independently? Or should the criteria be that they also perform the piece without any mistakes? Perhaps, playing and performing piano pieces are only a means to an end. Is the act of focusing and practicing, constructively for increasing amounts of time the true benefit? What about the possible social skills development resulting from learning and performing music in the community?



             I am inclined to state that these are all stages of a student’s individual development and therefore levels of success, but that is not true. At least, it is not accurate to assign a relative quality of success to each level for all students. While a student’s performance can be measured to reflect his or her progress it is more difficult to quantify the benefits associated with the process in general. What is the impact on his current and future peer’s perception of them after finding out that they are learning the piano? Or, what is the affect on society’s perception in general for that matter? How has practicing the piano benefitted their fine-motor and hand-eye-coordination skills in respect to other instruction programs? While these questions are more challenging to answer, it is the teacher’s responsibility to definitively decide just what each student’s immediate definition of success is.  For some students this is defined as playing with multiple fingers or introducing the skill of playing with the left hand or possibly fading a prompt. The relative difficulty associated with any of these phases of instruction is as unique as each student is unique.

             Therefore, all students’ progress through individualized phases of instruction, but these phases may or may not be leading to the same goal for each student. If you imagine a teaching phase as a rung in a ladder, each step is leading toward a goal; yet the path that each student uses can be very unique. For instance, all of our students are initially taught to read musical notation. A certain percentage of our students have not yet met the given criterion which indicates that they have an understanding of this skill. Instead of discontinuing that student’s education at the piano, his ‘ladder’ adjusts and a new set of material is provided which will allow him or her to appropriately interact with the piano and play new and challenging pieces. The skill of reading musical notation is still reviewed and practiced. It is the teacher’s goal to make this skill clearer to him by adjusting the curriculum.  In the meantime, though, he is developing his fine-motor skills, participating in a structured activity and shares the possibility of future involvement in the musical community.

             It is appropriate for instructors to focus on skill acquisition in the early stages of a student’s development at the piano. This allows them the chance to generalize the skill across locations, teachers and materials – i.e. practicing at home, with his or her parent/guardian and on a new keyboard. At a certain point though, all students would benefit from a structured and supervised system of community involvement. This could be a parent/guardian bringing the student to a musical performance or on a trip to a museum with a friend. For the vast majority of all students who pursue the piano, the instrument eventually provides an enriching hobby or pastime. Our goal is not to foster virtuosi or seek out prodigies at the piano. Rather, it is to develop a skill which will provide the opportunity to further enhance the student’s life. The other factor would be society’s perception. Fairly or unfairly, people often make judgments on an individual based on their abilities/interests. An understanding of core educational curriculum is important but sometimes learning that a person enjoys baseball or hiking is much more indicative of how you will get along. To a certain degree, I think most of our clients who decide to begin piano instruction for their child understands this and view the process as beneficial in that way. I must stress though that the goal of all of our teachers is to challenge the student appropriately and allow objective data to indicate just what immediate and future success is for that student. Unfortunately, I have found that the more challenged a student is the more that his challenges end-up defining what success is for him. All students should be given the opportunity to succeed, regardless of behavioral or comprehension challenges, based on objective standards instead of this subjective assessment.



             Therefore, while it is important to initially challenge all students equally, it is just as important to individualize each student’s development going ahead. I feel that a good example of this is a recent student who was diagnosed with autism and visual impairment. Going into the lesson, the degree of both these challenges was unknown to myself or the teacher. After concluding the initial baseline (which measures the student’s ability to read musical notes and identify the keys of the piano {the result was 0% correct}) I decided to try some discrimination trials. The student correctly identified several letters over 3 or 4 trials when he was requested to “Point to G”, “Point to F”, etc. At that point we can objectively determine that the current material is appropriate for him and proceed with instruction. It does not mean that the material will not have to be individualized along the way, though. It would be very understandable for a teacher to determine that, based on this student’s challenges, it would be best to incorporate brail, teach the piano ‘by ear’ or adjust the standard immediately. It would be understandable but it would not be fair to the student.     


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5 Reasons to add the Piano to your child's IEP

IEPs or Individualized Education Plans often focus on the much needed, core educational requirements of your child with special needs. It is very important that you are part of this process and provide your input as well. Since the piano is both fun and educational it can be a great way to motivate your child with autism. Here are five reasons to consider this:

      1)      It’s Fun!

      Adding a less rigid and ultimately more expressive activity to your child’s IEP can really motivate them. While there are basics to learn, music is about exploration and expression.

 2)      It’s Educational!

      Playing the piano requires you to focus. This time spent attending to instructional material can gradually be increased and benefit other educational programs. When your child learns to read music this also closely mirrors other skills associated with classical Reading and Writing programs.

3)      It promotes inclusion.

      While most IEPs and all public education programs include more traditional subjects such as Math, choosing to play the piano is not as common. This allows your child to form relationships with other music-minded peers and share something in common. Creating these opportunities by finding social groups and/or musical activities such as performances can help develop these connections.

 4)      It helps with generalization.

      The piano, much like traditional educational subjects, needs to be practiced and reviewed at home as well. Students with autism often have challenges associated with generalization. Adding another skill that can be brought home and developed; in a new environment, using different materials (i.e. another keyboard/piano) and taught by a different teacher, all help to promote your child’s ability to generalize what they learn.    

 5)      It develops fine-motor skills.

      Writing skills and many general life skills require a certain degree of fine-motor development. Learning to play the piano can gradually increase these skills by introducing concepts such as correct fingering and playing with both hands. When using ABA style instruction, these techniques can be broken down and ‘errorlessly’ introduced. While learning the basics of the piano is often straight-forward, the difficulty level can grow with your child and provide endless challenges and opportunities for fine-motor development.   

      The piano can offer all of these things and even though some students will not continue lessons into adulthood, it may open doors to other fun and challenging areas. Many of our students begin to explore singing or other instruments after being introduced to the piano. Exploring the possibilities of having your school include the piano in your child’s IEP can jump-start a discussion on exploring what artistic endeavors may be in their future!  


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