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Home > HCAS > HCAS_PUBS > HCAS_JOURNALS > TQR Home > TQR > Vol. 28 > No. 10 (2023)

 

Abstract

In Portugal, in 2018, an action-research project began to find solutions so that children with cerebral palsy (CP) could learn music in Arts Education Programmes of Music (AEPM). When conducting the characterisation of the child with CP, which gave rise to the study, and a series of literature reviews to find out what has been done in this area, we came across several works related to different Accessible Digital Musical Instruments (ADMIs) which can be employed by users with different needs. In the present case of the child under study, two of these ADMIs were chosen and used because of the opportunities they offer: Netytar and Netychords. These instruments allowed the child to access an artistic school near their residence after the respective admission test. In the Intervention Project (IP), which lasted six months, we analysed how the entry process was carried out, so we qualitatively studied the music teachers' field diary records. This situation included several interviews and conversations with the educational community involved. More specifically, the following were analysed: (i) the process of the child's entry into the artistic school; (ii) the work done by the piano teacher in the first three months of the study; (iii) the curricular adaptations proposed by the music teachers (MTs) of the ensemble and music training class so that the child could fulfil the proposed objectives; and (iv) the arrangements and musical compositions adapted so that the child could fulfil the demands of the school programme. As a result, we noticed that the peers of the child with CP adapted much better to the participation processes in favour of inclusion than the adults involved, probably because among the adults there was fear in the face of a still unknown situation, as is the case of working with a child who accesses information and music teaching unusually. We also noticed the urgent need for specific training and supervision among all involved - MTs, operational assistants (OAs), and parents/guardians (PGs). We were faced with the need for training in minor details such as accompanying the child with CP to move and use the toilet. In other words, it is necessary to prevent and prepare, empowering those involved with a series of skills so that children with special needs can fully and actively participate in this type of education.

Keywords

arts education programmes of music, qualitative analise, cerebral palsy, HeaDMIs, inclusion

Author Bio(s)

Davys Moreno (https://orcid.org/0000-0002-3805-6929), born in Iquique, Chile, is a violinist, Professor in musical performance, music therapist, and Conductor of children's orchestras with extensive professional experience. Davys is a Ph.D. Student in Education of the Department of Education and Psychology, University of Aveiro, Portugal. He has a master’s in music education (Chile) and Music Therapy (Brazil) and He completed a doctoral internship in the Department of Music Informatics at the University of Milan (Italy). It has promoted the development of children's orchestras to democratize the teaching of music and intervention in music therapy attending the First and Second Cycle of Basic Education. His current area of research is the inclusion of children with motor and communication disabilities due to Cerebral Palsy in Arts Education Programmes of Music so that they can develop their potential and artistic skills using ICT. Please direct correspondence to davys.moreno@ua.pt

Júlia Azevedo (https://orcid.org/0000-0002-7617-8548) is a piano teacher and pianist living in Portugal. She is a Master in Piano Performance and Music Teaching (both at ESMAE - Porto). Currently, she teaches a vast majority of grades in Aveiro and Arouca. In the year 2022/2023 she began working with a child with a motor disability due to Cerebral Palsy in a music school, with whom has been learning the use of accessible digital musical instruments and new ways to include children with disabilities in Arts Education Programmes of Music. Please direct correspondence to juliateixeiraazevedo@gmail.com

Bernardo Lima (https://orcid.org/0000-0002-0706-2648) is a composer and a teacher (Analysis and Composition Techniques and Music Theory) living in Portugal. He has a Master’s in Music Teaching (DeCA - Aveiro) and Composition and Music Theory (ESMAE - Porto). He teaches at Valença, Santa Maria da Feira and Águeda. He composed more than 50 works, amongst original compositions, arrangements, and orchestrations, some of them already recorded and awarded prizes in several national and international music composition competitions. His interest in conducting led him to study with Douglas Bostock, Baldur Bronnimann or Mark Heron (amongst others) and work as an assistant conductor in Banda Amizade – Banda Sinfónica de Aveiro in Portugal. Please direct correspondence to bernardoramoslima@gmail.com

Nicola Davanzo (https://orcid.org/0000-0003-3073-5326) is a post-doctoral researcher in Computer Science at the Laboratory of Music Informatics, University of Milan, where he has been working since 2018. His current research project focuses on the design and development of Accessible Digital Musical Instruments, with a particular emphasis on motor disabilities such as quadriplegia. His research interests lie within the areas of HCI and music in a broad sense. He earned his Ph.D. in Computer Science from the University of Milan in 2022, with a thesis titled "Accessible Digital Musical Instruments for Quadriplegic Musicians". His work encompasses the development and testing of several accessible software instruments, as well as contributions to their design philosophies. Please direct correspondence to nicola.davanzo@unimi.it

Acknowledgements

Work financed by FCT – Foundation for science and Technology, within the scope of the PhD scholarship with reference 2020.07331.BD, and by National Funds through FCT - Foundation for Science and Technology, IP, within the scope of the UIDB/00194/2020 project, referring to CIDTFF - Research Center in Didactics and Technology in the Training of Trainers. We are grateful for the collaboration of the Musical Informatics Laboratory at the University of Milan, for their constant support for this work. We are grateful for the collaboration of FUNDATION ALTICE and CRTIC (ICT Resource Centres, Portugal) for facilitating the Technology and support products that were used in this work. We are grateful for the collaboration of the Company BIOGERM, S.A (Portugal) for the logistical support in carrying out this work.

Publication Date

10-14-2023

Creative Commons License

Creative Commons Attribution-Noncommercial 4.0 License
This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 International License.

DOI

10.46743/2160-3715/2023.6682

ORCID ID

https://orcid.org/0000-0002-3805-6929

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