From a focus on the need for more inclusive music teaching in the National Plan for Music Education (Department of Education, 2022) to the identification of challenges faced by students with SEND (Special Educational Needs and Disabilities) and the need for teacher training, there are indications that the current landscape of music education warrants reform. Music Teaching for Special Educational Needs provides a guide for instrumental music teachers to navigate the complex issues implicit in SEND teaching, while delineating the inadequacy of overly simplistic and frequently recommended strategies for specific learning difficulties (SpLDs) and disabilities. By examining appropriate terminology, origins and types of disabilities as well as common misconceptions made by teachers, the groundwork is established for a discussion of inclusive teaching in accordance with the social model of disability. What changes might be made to the environment, to the resources used or to the teacher’s pedagogical practices and mindset to be more inclusive of the individual student? A focus on teacher reflection permeates through each chapter in the form of thought-provoking questions. The emphasis on collaboration with students and what can be understood from past music learning experiences forms a vital part of this book.
The author has experience as a peripatetic instrumental music teacher in UK schools and currently holds the role of associate professor and head of the Music Education MA at University College London, a backdrop which enables a thoughtful and pragmatic perspective on the material presented. The overall structure of the book comprises of an introduction (Chapter One), five chapters on specific disabilities (Chapters Two to Six) and a concluding chapter (Chapter Seven). Foundational material in Chapter One describes how David Baker collated the guidance given in each chapter through a combination of published research and thematic analysis of observations from lessons as well as interviews with the students and their teachers. In Chapters Two to Six, Baker brings together detailed information about specific SEND, case studies, summaries of good practice, reflective questions for practitioners and suggested further reading. Dedicating an entire chapter to each theme, the author delves into a deeper understanding of the following: dyslexia, autism spectrum disorder, visual, auditory and physical disabilities. Dyslexia is discussed as an example of a ‘specific learning difficulty’ (p. 29) and whilst dyscalculia, dysgraphia, dyspraxia and attention deficit hyperactivity disorder are also mentioned, all information and pedagogical guidance in Chapter Two is directed solely to students with dyslexia. The concluding chapter (Chapter Seven) centres on the characteristics perceived to be necessary for teacher preparedness in supporting learners with SEND. While the addition of an index would have facilitated the location of relevant terms, the book’s length and structure may have influenced this omission. A glossary, directory of relevant organisations, and references are included at the end.
Definitions may provide a framework for our understanding of disabilities and implications for education, but there is debate about how rigid definitions may limit the eligibility of certain students for additional support. Alternatively, some practitioners choose the ‘label-free approach’ to teach and support learning, positing that this enables all students to be met at their point of need and eliminates the constraints that an official diagnosis or the lack thereof might bring (Hammel, Hickox & Hourigan, Reference HAMMEL, HICKOX and HOURIGAN2016, p. 7). The author of this book opens each section by defining a specific disability and providing an explanation of the ways in which it might impact music learning. However, in Chapter Two, Baker chose to define dyslexia according to the Rose Review (Reference ROSE2009) instead of utilising the most recent definition, developed from a Delphi study involving academics and other stakeholders (Carroll et al., Reference CARROLL, HOLDEN, KIRBY, THOMPSON and SNOWLING2025). This has relevance because the new definition has been extended to include orthographic skills, reading fluency and working memory as areas, which may be affected by dyslexia. Orthographic skills include the ability to recognise and retrieve information connecting symbols to sounds accurately. This suggests educational implications for the way students with dyslexia may learn, recall and use with fluency the specific components of music scores, a system in which sounds are represented through symbols. Morrow (Reference MORROW2023), a cello teacher and certified dyslexia specialist, suggests that the elements of a music score should be introduced in a precise sequential manner in order to promote foundational knowledge and develop sight-reading skills for students with dyslexia. Through this approach, students might be less at risk of developing partial or incorrect representations of the music than they might with standard methods of teaching. These more recent developments in definition and research may have extended the useful information already included in the chapter on dyslexia.
Chapter Three includes the only section dedicated to ‘Communication with parents’ (p. 81) and focuses exclusively on autism. Because collaboration with parents is an important aspect of all forms of special needs or disabilities, a substantial discussion may have fitted better in Chapter Seven, which addresses teacher preparation and development. This could have highlighted the advantages for teachers of initiating and being proactive with parents and how to navigate some of the more challenging situations that can arise. Furthermore, as some of the conditions included in the book have heritable origins, it would have been beneficial to explore how this might influence parent–teacher communication.
Presented as a guide for instrumental teachers, the book might have benefitted from an expanded discussion on the value and importance of music education specifically for learners with SEND in the introductory or concluding chapters. The author mentions some benefits to ‘learning an instrument’ in various chapters, summarises advantages from Hallam’s (Reference HALLAM2015) review (p. 167) and briefly mentions ‘transferable attributes’ (p. 169). However, an expanding body of research suggests that the potential advantages may extend beyond musical goals to enhance students’ lives in other domains, such as social and personal development (Welch & Ockelford, Reference WELCH and OCKELFORD2015; Gall & Backman Bister, Reference GALL, BACKMAN BISTER, GALL and BACKMAN BISTER2024). Engaging in more depth with research which highlights the impact of music on students’ identity, meaning and sense of ‘cultural citizenship’ might only serve to increase the motivation of instrumental teachers to adopt more inclusive pedagogical practices (Ferm Almquist, Reference FERM ALMQVIST2016, p. 68).
Particularly useful for instrumental teachers are the tables that are distributed throughout the book. They include examples of task analysis (p. 71), good communication patterns as well as phrases to avoid in teaching students with autism (pp. 74–76), alternatives to gesturing with visually impaired students (pp. 116–117) and how standard instruments can be adapted for diverse students (pp. 157–159), amongst others. Used as templates or merely to stimulate the teacher’s thinking about specific aspects, they represent the kind of material that a teacher could draw on and return to as they encounter learners with SEND throughout their career.
The final chapter begins with the question ‘What makes a good instrumental teacher?’ (p. 165) and ponders whether those qualities should differ when teaching students with SEND. The material presented is largely optimistic while also alluding to some challenges. Notably, discussions on the qualities needed to navigate behavioural issues or how to address teacher burnout are missing. However, the author brings some balance to this by describing success stories as well as situations, which could be reflected upon and learned from in the teaching case studies throughout the book. Considering the breadth and significance of topics that are included, this text will also be a valuable resource for music classroom teachers working with pupils and supporting visiting instrumental teachers. In conclusion, this book makes a strong contribution to the field of SEND and music education by providing instrumental teachers with an overview of specific conditions, sharing corresponding strategies, encouraging a focus on individual learners and by conveying the importance of being a reflective practitioner.
