Differentiation as Celebrating an Able Identity or Perpetuating an Ableist Perspective? Critical Perspectives on an Evidence Based Approach for Instrumental Tuition for Musicians Who Have Down’s Syndrome

This paper will present a framework for differentiating instrumental tuition for individuals who have Down’s syndrome, which draws from the evidence-base which asserts that there is a recognisable learning profile amongst learners with Down’s syndrome (Dykens et al., 2006; Eugene and McGuire, 2006). This literature will be examined critically and cautiously, and its reductionist, deficit-based potential identified. The value of applying this evidence-based approach to music education will be considered through three brief case studies which explore music making with learners who have Down’s syndrome. The case studies will demonstrate potential differentiation of provision according to the evidence-based learning profile, while recognising and celebrating a wide range of musicians’ personalities, communication styles, preferences, instruments and intentions. The context of other published examples of working inclusively with musicians with Down’s syndrome and learning disabilities will also be considered (Cross, 2005, 2007; Heaton et al., 2008; Hammel and Hourigan, 2011; Ott, 2011; Bell, 2014; Jaquis and Paterson, 2017). Having presented this evidence-based approach to differentiating music education to enable learners with Down’s syndrome to play an instrument, read music, and develop enriching musical relationships; a further critical stance will consider whether such methods of differentiation are synonymous with inclusive education (Alton, 1998; Hodkinson, 2015), or whether the construct of differentiation in itself further perpetuates the dominant ableist discourse (Moore and Slee, 2012; Penketh, 2016). While there is potential for an approach based on learning profiles according to such a broad shared experience as ‘Down’s Syndrome’ to be reductionist and overgeneralised, this paper suggests that this can be a strength-based foundation for music educators, who report as often lacking in confidence or experience to engage with learners with additional needs (Jones, 2015). From the perspective of the musician who has Down’s syndrome, it is their human right and disability right to make music (Lubet, 2011) as well as a “fundamental human occupation” (Williams, 2013, p. 39). Enabling this creative expression through a meaningful and relevant approach is the ethical responsibility of an inclusive music practitioner (Atkinson, 2011; Bell, 2014), and it is hoped that research into approaches which increase confidence in practitioners as well as success for musicians can be nurtured. Introducing a wider range of informed methods for music educators could be beneficial to a great number of learners, regardless of whether they identify as having a specific or additional learning need. Rather than utilise the learning profile as recognition of areas of deficit to develop (Fidler, Hepburn and Rogers, 2006; Iacob and Musuroi, 2013), this study will see the learning profile as a recipe for access and success: providing a “maximally supporting learning environment” (Wishart, 2002, p. 18; cited in Germain, 2002, p. 53) to nurture successful outcomes (Lemons et al., 2018). Widening understanding and acceptance of a multitude of approaches to music education, reflecting the diversity of experiences of musicians, aligns with a neurodiversity perspective, which celebrates the value and validity of diverse experiences rather than recognising such diversity as a deficit or a disability (Silberman, 2015; Woods, 2017). 
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