By Jessica Baron | Executive Director
Hello, Gracious Supporter!
Thank you for your enduring care for the mission to include all learners in making music. Your understanding of the power of music and how it can engage, heal, connect, and educate us is so important. I cannot thank you enough for staying the course and joining us in this cause.
This report will be brief as so much is stretching our staff thin these days. Increasing interest in the work is mounting in reponse to music educators being assigned to teach music to students in special day classes for students with moderate to severe diagnoses, also called extreme support needs or ESNs. This is a positive development, but no one has received adequate training yet because the idea is so new.
If we had not started exploring how to differentiate music instruction for including students with disabilities back in 2015, we would not be ready to meet the current moment. But thanks to support from donors including you, starting with our initial donors, Steve and Karen, and thanks to our first assist in the work from the NAMM Foundation, here we are 10 years later, ready to rock and roll. We are escpeially grateful to you special, long-term repeat donors, former board members Janet. and Jasmin who saw this work begin and said, "Sign me up!" Thank you so much.
Just since January, 2025, we have begun training music educators in adaptive music strategies in both San Diego Unified School District, and in the Anaheim Unified School District. We hope to bring the work to the music educators in Los Angeles Unified as well in the next 12 months.
How does Adaptive Music training work? First, an Arts leader has to decide this is a worthwhile endeavor, because they will start the ball rolling. They have to figure out how to get all of the teachers in the room for training. This is an expensive endeavor because the district has to pay for substitute teachers to cover mutliple classrooms. We appreciate the Arts leaders who put students and teachers first, ahead of pinching pennies. Thank you, Laura in San Diego and Mark in Anaheim!
Then teachers need to lean into the process. They have to take time, do the homework, and be willing to try new thinking and techniques. This is harder than ever because teachers are under a great deal of pressure. Everyone is so busy! But great teachers make the time. We are all truly learning together.
For us, there is so much planning, sharing, refining, and preparation to do. The training pathway is still evolving.
Sharing wisdom and techniques with teachers is fantastic. It takes considerable time though, because music teachers are not given training at any point in time in teaching special education unless that was something they specifically sought out. It's rare. So everyone needs time to dig into the kinds of medical, physical, cognitive, behavioral, and psychological issues that could be going on with each student. Once teachers understand some essential factors that can affect how the students experience and make music, then we need to get into practice.
Practice happens best when students are present and we can model, encourage, and coach the music teachers to try some new strategies for changing the learning environment. This can involve reorganizing the physical space of the music room. It also involves how students move about in that space. We recommend creating a sensory corner where students who need a break from the sound can retreat. We ask for mobility pathways so students who learn better by moving can do so safely. It can involve changing the lighting, arranging for seats near the board, or behind other students. Every situation is somewhat unique depending on student needs.Then there is the actual practice teaching. It's a gradual learning process.
How do we get the necessary time in classrooms? Well time, as it is so often said, is money. We're working on writing a grant to try to fund gradual training, practice, and classroom tranformations so absolutely every student can participate successfully. We'll keep you posted about this. The grant would mean special educators and music teachers could have conference time to discuss student needs and accommodations. This doesn't happen now. The grant could mean that music educators could be observed, coached, and truly grow in their understanding and effectiveness teaching music to a wide range of diagnostically marginalized students. The grant could also fund assessment so we can determine what is working best, and with whom.
Meanwhile, I hope you will keep a good thought for GITC and donate if you can. We are spending time and quite a bit of money creating support kits for special ed students. These have special grips, picks, and adaptive percussion and kazoos, as well as traction mats that allow kids in wheelchairs to strum a uke face-up on their wheelchair trays so the instruments don't topple onto the floor. We make percussion bracelets that can hold any small percussion instrument afixed with velcro. These are colorful and comfy. We also supply strap making supplies, and special, flexible Dunlop Herco thumb picks that stay on children's strumming thumbs and fit just right. These things make a world of difference. Every child's kit costs GITC $10 in parts and $20 in labor to put together. Just know that your generous gifts are going a long, long way to make music possible for so many students.
Let's keep going with determination and see if we can get inclusive music happening in more communities together this year!
Where do YOU want to see it happen? I hope you will drop us a line and tell us. We'd love to hear from you at info@guitarsintheclassroom.org. Or pick up the phone and call me at (619)840-1010. Your thoughts matter.
With care, appreciation, and very best wishes,
Jess
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By Jess Baron | Executive Director
By Jessica Baron | Executive Director
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