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Was 3 1293 00571

um“ I
Michigan State
University

 

 

 

 

 

 

 

 

 

 

 

 

 

 

This is to certify that the

thesis entitled

THE DEVELOPMENT OF
THE MUSIC THERAPY
PROFILE OF CHILDREN'S ABILITIES

presented by

Cheryl Anne Swanson, RMT—BC

has been accepted towards fulfillment
of the requirements for

. v . -
Master 3 degree 1n Mu51c

 

a if] / 2%474/

Major professor

Date June 10, 1988

0-7639 MS U is an Affirmative Action/Equal Opportunity Institution

 

 

 

 

 

 

 

 

 

 

MSU

LIBRARIES
m

 

 

RETURNING MATERIALS:
Place in book drop to
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your record. FINES will
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stamped below.

 

 

 

 

 

 

THE DEVELOPMENT OF
THE MUSIC THERAPY
PROFILE OF CHILDREN'S ABILITIES

By

Cheryl Anne Swanson, RMT-BC

A THESIS

Submitted to
Michigan State University
in partial fulfillment of the requirements
for the degree of

MASTER OF MUSIC

School of Music

1988

 

 

 

 

 

 

The
compreh
(MTPCA)
potenti
current
activit
social
Skills

Se‘
EmotiOI
elemen
Study.
Subjec
rEliab
items,
extern
of the
subjeC
treatu

relatj

 

 

 

ABSTRACT
THE DEVELOPMENT OF

THE MUSIC THERAPY
PROFILE OF CHILDREN'S ABILITIES

By

Cheryl Anne Swanson, RMT-BC

The purpose of this study was to develop a
comprehensive music therapy assessment tool for children
(MTPCA) to determine a) whether an individual would be a
potential candidate for music therapy treatment, and b) the
current level of functioning through responses to music
activities in the areas: cognitive, affect and temperament,
social and interpersonal skills, motor skills, and music
skills and interests.

Seven children, classified as autistically impaired,
emotionally impaired, or learning disabled from two
elementary special education classes participated in this
study. The MTPCA was administered individually to each
subject. Interscorer reliability and external source
reliability were determined for the fifty-five scaled MTPCA
items. Selected items Showed significant interscorer and
external source correlation. The scorers supported the use
of the MTPCA as an effective instrument to indicate whether
subjects would be potential candidates for music therapy
treatment and to obtain a current level of functioning in

relation to music activities for each subject.

 

 

 

I I
who ha‘
thesis
Bartle'
thesis

Sp
partic
Mr. R0

F0
thank
Specia
acknov
adminj

I
for p;
deve1<

TI
SUPPO:
and c.

made

Swans

ACKNOWLEDGEMENTS

I would like to express my appreciation to the people
who have helped me through the past two years. I thank my
thesis advisors: Professor Robert Unkefer and Dr. Dale
Bartlett for their assistance in the completion of this
thesis.

Special thanks are due to the music therapists who
participated in this study: Mrs. Nancy Pollack, RMT-BC and
Mr. Roger Smeltekop, RMT-BC.

For their cooperation in participating in this study, I
thank Mrs. Michele Jarvis, M.A. and Ms. Sally Whittler, the
special education teachers. The author gratefully
acknowledges the cooperation of the students, teachers, and
administrators of the Lansing School District.

I would like to thank the MSU music therapy students
for participating in various phases of the MTPCA’s
development.

This work could not have been completed without the
support and encouragement I have received from my friend
and colleague, Bonnie Chan. Her enthusiasm and good humor
made our time in East Lansing pleasant and memorable.

’My special thanks goes to my parents, Robert and Helen
Swanson for their unending words of support and to my

iii

 

grandparent
through the

I am pa
Stephenson,
encourageme

past two ye

grandparents, John and Irene Carter, for their assistance
through the past two years.

I am particularly grateful to my fiance, Michael
Stephenson, for his faithful words of support and
encouragement and his ever-listening ear throughout the

past two years.

iv

LIST OF FIG
CHAPTER

L PROBLEM
Need for
Purpose
Hypothes
Theory

Music
The P1
The A:
The MI

11. REVIEW
Definit
Music T

III. METHO
Sample
Instrum

The M
Procedu
Statist

IV» RESULT
Reliabi
Inter
Exter

Tea

Exter

and

and

V. SUMMARI
Summer)
RECommg

Appendix I
Appendix 1
Appendix I
Appendix '1
Appendix 3

TABLE OF CONTENTS

LIST OF FIGURES . . . . . . . . . . . . . . . . . . .
CHAPTER
I. PROBLEM
Need for the study . . . . . . . . . . . . . . .
Purpose . . . . . . . . . . . . . . . . . . . .
Hypothesis . . . . . . . . . . . . . . . . . . .
Theory
Music Therapy with Emotionally Impaired Children
The Process of Music Therapy . . . . . . . . .
The Assessment Process . . . . . . . . . . . .
The Music Therapy Assessment . . . . . . . . .

II. REVIEW OF LITERATURE
Definitions . . . . . . . . . . . . . . . . . . .
Music Therapy Assessments . . . . . . . . . . . .

III. METHODOLOGY
Sample . . . . . . . . . . . . . . . . . . . .
Instrumentation
The Music Therapy Profile of Children's Abilities
Procedure . . . . . . . . . . . . . . . . . . . .
Statistical Analysis . . . . . . . . . .

IV. RESULTS
Reliability Analysis
Interscorer Reliability . . . . . . . .
External Source Reliability Between Scorers and

page
. vi

. 20
. 24
36
36

39
43

46

Teacher Evaluations of Learning Disabled Subjects 54

External Source Reliability Between Scorers

and Teacher Evaluations for Emotionally Impaired

and Autistically Impaired Subjects . . .

V. SUMMARY AND RECOMMENDATIONS
Summary of Results
Recommendations . . . . . . . . . . . . . .

Appendix A MENTAL DISORDERS OF INFANCY, CHILDHOOD,
OR ADOLESCENCE . . . . . . . . . . . . .
INFORMED CONSENT AUTHORIZATION FORM . . .

Appendix B

Appendix C MTPCA THERAPIST' S MANUAL . . . . . .
Appendix D TEACHER' S QUESTIONNAIRE . . . . . .
Appendix E RELIABILITY STATISTICS OF THE MTPCA . .

REFERENCES . . . . . . . . . . . . . . . . . . . .

 

61

68
78

81

93

165
170

.211

 

 

Figure 1.

Figure 2.

LIST OF FIGURES

Figure 1. Stages of the Assessment Process . . . . . . 13

Figure 2. An Outline of the Mental Disorders of
Infancy, Childhood, or Adolescence . . . . . 25

 

 

 

 

 

Musi
developmer
impairment
impairment
impairment
from the (
activitie:
children .
of melody
social pe
accomplis
113). or
aSSimilat
interpret
activarin

The
1earning
aSsiSt in
PYESented
that ther
”Perle“
adaptamE

and Worn

 

 

CHAPTER I

PROBLEM

Need for the study

Music therapy can have a far-reaching effect upon the
development of children who bear the handicaps of emotional
impairment, mental impairment, orthopedic or physical
impairment, sensory impairment, and other health
impairment. Children who are handicapped may be isolated
from the course and content of normal human life. Music
activities can be highly normalizing for handicapped
children as everyone can share in its fundamental elements
of melody, harmony, and rhythm. Music can "reduce the
social perception of deviance by maximizing the normal
accomplishments of a handicapped person" (Alley, 1979, p.
113). Often, handicapped children have difficulties
assimilating life's experiences, becoming confused in their
interpretation. For these children, music can be a cogent,
activating experience (Nordoff & Robbins, 1971).

The handicapped child spends much of his/her lifetime
learning to live with a handicap. Music not only can
assist in helping the child to learn, but it also can be
presented as a pleasant learning experience. Alley states
that there exists a strong rationale for providing learning
experiences that are enjoyable. Music is a highly
adaptable modality in this situation. It is pleasurable
and worthwhile in its most simplistic forms which require

1

 

 

 

 

 

[iiii r

little intl
of music tI
personal e
in musical
and facili
Musi
developmen
most notab
the experi
achievemen
Stimulatin
improving
skills, re
motor cont
With chilc
Musi
that invgj
psychiatr:
PraCtiCe.
PhYSicall
Populatio
Experienc
OPPortuni
Socially
The
therapist

effecuve

2
little intellectual or physical competence. The discipline
of music therapy provides opportunities for feelings of
personal enjoyment and satisfaction through participation
in musical activities, while enhancing the learning process
and facilitating the growth of each individual child.

Music can play a broad role in the growth and
development of children. Dickinson (1976) highlights the
most notable benefits of using music with children as being
the experience of emotional satisfaction: experiencing
achievement, self-confidence, and group involvement.
Stimulating communication without the barrier of language,
improving concentration and attention span, articulation
skills, reading and sequencing skills, and coordination and
motor control also are valuable benefits of music therapy
with children.

Music therapists practice in a variety of settings
that involve children. The most common settings are
psychiatric hospitals, school systems, and private
practice. Emotionally impaired, learning disabled,
physically impaired, and sensory impaired are the
populations most often treated in music therapy. Musical
experiences for emotionally impaired children offer many
opportunities for them to channel undesired behavior into
socially acceptable activities (Crocker, 1968).

The music therapist, in conjunction with other
therapists comprising a treatment team, can function

effectively in treating areas of deficiency. The initial

 

 

 

phase in t?
emotionall
assessment
individual
hospital 3
psychiatri
an occupat
special ed
setting ma
parents, 5
therapist,
program, e
the child.
goals and
team and :
Paul, 198-
Imp
music the
assessmen
illIPaired,
Children.
One
theraPist
method in
aSSesSmen
in the ft

lncreasir

3
phase in the treatment of autistically impaired,
emotionally impaired, and learning disabled children is the
assessment of the child by each discipline working with the
individual. For example, the treatment team in the
hOSpital setting for an individual client may consist of a
psychiatrist, a nurse, a psychologist, a music therapist,
an occupational therapist, a physical therapist, and a
special education teacher. A treatment team in a school
setting may consist of the special education teachers,
parents, speech therapist, music therapist, occupational
therapist, and social worker. As a part of the treatment
program, each discipline performs an initial assessment of
the child. After the assessment of the child, treatment
goals and objectives are determined collectively by the
team and individually by each discipline (Carter, 1984;
Paul, 1984).

Implementing an assessment presents a problem for the
music therapist. Currently, there are no standard
assessments available for music therapy with autistically
impaired, emotionally impaired, and learning disabled
children.

One of the most critical topics concerning music
therapists today is the accountability of services. One
method in documenting accountability is through
assessment. Scovel (1986) states that an important issue
in the future of reimbursements for music therapy includes

increasing the sophistication of assessments. Regulatory

 

 

 

 

 

 

agencies m:
assessment
For exampl:
Welfare's
used to as
handicappe
Accreditat
which enco
capacities
(Braswell,
1983). Th
by the Nat
"a client
Therapist]
(National
In 1
Katz (197:
is mUSic .
Pr0fessio:
is; not s
reléltion
dEfine th
the fulfi
“aiming,
I~he techn

the “We

4
agencies mandate, or strongly suggest, the use of a formal
assessment procedure to determine treatment or training.
For example, the Department of Health, Education, and
Welfare's Public Law 94-142 requires that valid measures be
used to assess the needs of impaired, disabled, and
handicapped clients (James, 1986). The Joint Commission on
Accreditation of Hospitals requires that activity services,
which encompass music therapy, assess the client's needs,
capacities, deficiencies, interests, and life experiences
(Braswell, Brooks, Decuir, Humphrey, Jacobs, & Sutton,
1983). The Standards of Clinical Practice, revised in 1987
by the National Association of Music Therapy, Inc., states
"a client shall be assessed by an RMT (Registered Music
Therapist) prior to the delivery of music therapy services"
(National Association of Music Therapy, Inc., 1987, p. 2).

In the Journal of Music Therapy, Cohen, Averbach, &

 

Katz (1978) raise the issue that no profession, whether it
is music therapy or another discipline, can obtain
professional status without a valid assessment system, that
is, not simply the completion of an assessment form. In
relation to music therapy, such an assessment system must
define the "uniqueness of music therapy and contribute to
the fulfillment of an individualized client's treatment,
training, and habilitation plan" (p. 92). It follows that

the technique of assessment must become an integral part in

the process of theraPY-

 

 

The
mmic ther
impaired,
children.
Abilities
will be ev
ability to
candidate
functionir
tasks.

Give
reliable I
Children ;
could haw:
music the'

therapy.

The

 

5
Purpose
The purpose of this study is to devise a reliable

music therapy assessment tool to be used with emotionally

and autistically impaired

impaired, learning disabled,

children. The Music Therapy Profile of Children's

Abilities (MTPCA) created for this study by Swanson (1988),

will be evaluated for its reliability as well as its

ability to a) discriminate whether a client is a potential

candidate for music therapy and b) determine the current

functioning level of the client in relation to musical

tasks.
Given the problem previously outlined, the need for a

reliable music therapy assessment instrument for use with

children is great. The development of such an assessment

could have a positive impact upon the role of the clinical

music therapist and the progression of the field of music
therapy.

Hypothesis

The following questions were answered in this study:

1. Will the MTPCA discriminate whether a client is a

potential candidate for music therapy treatment?

2. Will the results of the MTPCA provide the music
therapist with the current level of functioning of

the client in relation to musical tasks?

 

[’**-

Theo
a foundati

following

Music The:

Musi
include 3;
bring abou
(1985) e1,
"behavior.
behavior
dePends u
those of
knowledge
of music
bahaViors

SOCial, a

MUS
theraDist

perhaps t

6

 

3. Will the results of the MTPCA demonstrate
reliability when given to emotionally impaired,
learning disabled, and autistically impaired

children?

Theory
Theoretical constructs and assumptions which serve as
a foundation for this study will be discussed in the

following paragraphs.

Music Therapy with Emotionally Impaired Children

 

Music therapy is a behavioral science and may also
include aesthetic experience in which music is used to
bring about positive changes in human behavior. Michel
(1985) elaborates further, defining music therapy as a
"behavioral science not only because music is human

behavior but also because the use of music in therapy
depends upon a mastery of behavioral skills in addition to
those of performance and teaching, that is, upon the
knowledge and skills necessary to relate the human activity

of music to therapy goals' (p. 25). These changes in
behaviors may include educational as well as emotional,
social, and rehabilitative changes.
Music has powerful influences upon behavior. The
therapist often uses music as a motivator by encouraging

Clients to pursue goals that may appear too difficult or

perhaps boring in another setting. Music offers a

 

predictable
gratificat:
by the per:
may develo
successful
socializat
Rese
modality f
impaired c
1974; Mahl
Stevens &
Clinical r
treatment
can provic
aPPIOpriat
Improvemet
Skills tht
through I!
increased
suCCeSSfu
aUtistica
disabled
enhanCed
therapy 3
To
muSt be a

SO that t

 

7

predictable and orderly structure, and allows for
gratification from artistic expression to be easily gained
by the performer or client; at the same time, the client
may develop an increase in self—confidence from the
successful experience and an increase in appropriate
socialization skills.

Research has shown that music is an effective therapy
modality for treating emotionally impaired and autistically
impaired children (Diephouse, 1967; Hollander & Juhrs,
1974; Mahlberg, 1973; Steele, Vaughan, & Dolan, 1976;
Stevens & Clark, 1969; Thaut, 1984; Werbner, 1966).
Clinical reports show that music is being used as a
treatment modality with learning disabled children. Music
can provide opportunities for needed creative expression,
appropriate socialization, or success—oriented activities.
Improvement of receptive and expressive communication
skills through singing, development of imitation skills
through rhythmic activities, movement, and singing, and
increased on~task behavior are examples of common
successful goals for the music therapist working with
autistically impaired, emotionally impaired, and learning
disabled children. Naturally, musical skills are also
enhanced and developed through participation in music
therapy sessions. (Paul, 1984)

To achieve any of these goals, the music therapist
must be at ease with the methods of the musical activities,

so that the focus of attention can be directed to the

 

behavior 0
possess a
in order t
The therap
to overpow
means to a
relationsh
therapies,
change. 1
genuine it
this to tl
Wit]
the assum'
modality -

alltistica

W
In
several m
of music
Acc
therapy.
Changes 1
ConditioI
therapy (
conce-Dis

 

8
behavior of the child. That is, the music therapist must
possess a solid base of musicianship to draw from at will
in order to stimulate, interest, and involve the child.
The therapist, however, cannot allow his/her love for music
to overpower the fact that, in therapy, music is used as a
means to an end (Kessler, 1967). The therapist-child
relationship is probably the common denominator for all
therapies, and is the main factor in bringing about
change. It follows that the music therapist must have a
genuine interest in the child, and must be able to convey
this to the child.

With this philosophy, this study will operate under
the assumption that music therapy is an effective treatment
modality with emotionally impaired, learning disabled, and

autistically impaired children.

The Process of Music Therapy

 

In addition to the philosophy mentioned above,
several music therapists have described the actual process
of music therapy.

According to Michel, change is an implied meaning of
therapy. Change is defined as "the bringing about of
changes from undesirable, unhealthful, uncomfortable
conditions to more pleasant ones" (p. 6). In this sense,
therapy can be viewed as a process of learning. Modern
concepts of therapy often relate, and sometimes equate,

therapy and learning.

 

 

 

Anon
most ideal
setting, w
effective,
of treatin
while atte
the music
individual
objectives
individual

TheI
been estal
Krathwohl
Objective:
Psychomott
Parallel
Education
CWPOnent

Sta
domains i
Objective
learned m
abilities
objECtive
Values, 8

adjustfiler

 

 

9

Another assumption of therapy is that it is, in its
most ideal form, individualized. In a hospital or school
setting, where individual music therapy is not cost
effective, individualized therapy can be viewed as a means
of treating the individual in a group setting. That is,
while attending to group goals, the therapist can tailor
the music therapy group session to challenge the
individuals involved to work towards their goals and
objectives. Thus, music therapy can be defined as an
individualized procedure.

Therapy is based on goals and objectives that have
been established both for the group and the individual.
Krathwohl, Bloom, and Masia have divided educational
objectives into three domains: cognitive, affective, and
psychomotor (Mahan & Mahan, 1981). Therapeutic objectives
parallel these domains. Effective learning in both
education and therapy involves change in all three
components.

Stanley & Hopkins (1972) defines change in the three
domains in the following manner. Cognitive change includes
objectives that focus with the "recall or recognition of
learned material and the development of intellectual
abilities and skills." Affective changes encompass
objectives "that emphasize interests, attitudes, and
values, and the development of appreciations and adequate

adjustments." Psychomotor changes are concerned with

 

 

 

 

 

 

 

 

objectives
skills" (pi
Peop
areas: cog
than that
three area
prior to t
individual
measure th
informatio
the treatm
construct

MTPCA, an

M
The
with the ;
theraDist
purPose 0
Program p
the asses
Working d
The
“hO vi11
theraPist
from the

implemEnt

 

10
objectives pertaining to "physical, motor, or manipulative
skills" (pp- 173-174).

People seem to demonstrate change in three explicit
areas: cognitive, affective, and psychomotor. It follows,
then, that a therapeutic assessment should encompass those
three areas. An assessment of this type, administered
prior to treatment, would provide a baseline of an
individual's current level of functioning from which to
measure therapeutic change. It would also provide
information necessary to develop therapeutic objectives for
the treatment planning of the individual. This theoretical
construct provides the framework for the development of the

MTPCA, an assessment tool designed for use in this study.

The Assessment Process

 

The initial phase of therapeutic intervention begins
with the assessment. Upon receiving a client referral, the
therapist schedules and implements an assessment. The
purpose of this assessment is for screening and to aid with
program planning. Most facilities have a time period for
the assessment to be completed, such as within three
working days after the referral is written.

The assessment should be completed by the therapist
who will be working with the child. This enables the
therapist to meet the client and to begin building rapport
from the onset of the therapeutic experience. Before

implementing an assessment, the therapist must be familiar

 

with the P1

the attribt
assessor.

One]

PEOP

scie

hypo

hypo

situ

be a

inte

(p-

Asse

spectrum 0

(including

and interp

assessment
to sample
therapist
Child and
Sat

asSessmen
1.
referral

‘0 Clarif
2.
medical,

developme

teacheI-S,
3.

clarify (

11
with the process of assessing. Sattler (1988) describes
the attributes of the therapist to be an effective
assessor.

One must know a great deal about tests and about

people; be capable of using creative skill,

scientific rigor, and caution in developing
hypotheses; be flexible enough to modify or reject
hypotheses in the light of new data; know the
situations about which inferences must be made; and
be aware of one's own characteristics as an
interpreter of test performance and human behavior

(p. 532).

Assessment procedures should focus on a broad
spectrum of the child's abilities. Psychological factors
(including cognitive and affective characteristics), social
and interpersonal factors are included in a comprehensive
assessment. The more sources (within limits) that are used
to sample the child's behavior, the better position the
therapist will be in to make firm generalizations about the
child and to develop intervention strategies.

Sattler outlines the usual steps in the process of
assessment as the following:

1. Review of all referral information. Consult with
referral sources, such as psychiatrist, teacher, or parent,
to clarify any vague information.

2. Obtain information relevant to the child's
medical, social, psychological, educational, and physical
development. This information may be obtained from
teachers, parents, medical reports, or other agencies.

3. Assess the behavior of relevant adults. This may

clarify overt behaviors by the child.

 

 

 

4. 0
possible.

5. A
child's ag

proficienc

form, and
10. 1
child to t
11.
Progress
process.
Ass
intertwin
0f the ch
the Child
a descrip
child, an

Eff
monitorir
Short‘ ar
Parts Of

asSeSSmet

0f treatf

12
4. Observe the child in various settings, where
possible.
5. Administer an appropriate assessment, based on the
child's age, physical capabilities, and language

proficiency.

6. Interpret the data.

7. Formulate hypotheses.

8. Develop intervention strategies.

9. Write a report, using the assessment recording

form, and include recommendations.

10. Meet with those involved with the treatment of the
child to discuss results and recommendations.

11. Follow up on recommendations and administer a
progress assessment when time permits in the treatment
process. (see Figure 1)

Assessment and treatment are inextricably
intertwined. Assessment involves a careful interpretation
of the child's strengths and weaknesses, a description of
the child's temperament and personality, the formulation of
a description of the current functioning level of the
child, and the development of recommendations.

Effective delivery of treatment requires close
monitoring of recommendations and interventions. Both
short- and long—term follow—up evaluations are important
Parts of effective treatment beginning with the
assessment. The assessment can be used during the duration

of treatment to determine a current level of functioning

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h.

l4
and to compare current data with the past assessment
results, enabling the therapist to monitor the progress of

the client during treatment.

The Music Therapy Assessment

 

The National Association for Music Therapy, in the
Standards of Clinical Practice (1987), has outlined the
components of a music therapy assessment as:

1. The music therapy assessment shall reflect the
psychological, educational, social, or physiological
functioning as related to the client's needs; and
shall focus on the client's responses to music and
music skills and preferences. The assessment shall
attempt to determine the client's strengths as well
as weaknesses.

2. All music therapy assessment methods shall be
apprOpriate for the client's chronological age,
functioning level, and cultural background. The
methods may include, but need not be limited to,
observation during music or other situations,
interview, verbal and nonverbal interaction, and
testing. Information may also be obtained from other
disciplines or sources such as the medical and social

history.

3. The assessment shall recognize variability of
performance resulting from medications, adaptive
devices, positioning, involvement in other therapieS,
psychosocial conditions, and current health status.

4. All interpretations of test results shall be
based on appropriate norms or criterion—referenced

data.

5. The music therapy assessment procedures and
results shall become a part of the client's file.

 

 

the
for
comm
serx
resr

0thé
refe
A ml
discrimin;
be interp
for music
to determ
musical t
suitable
A c
Culminati
include c
Concern t
-co
and oral
-af
activity
~sc
C0mmuniCa
in"iracri

‘lllC

Skills;

 

 

15

6. The results, conclusions, and implications of
the music therapy assessment shall become the basis

for the client's music therapy program and shall be
communicated to others concerned with provision of
services to the client. When appropriate, the
results shall be communicated to the client.

When assessment indicates the client's need for

7.
the RMT shall make an appropriate

other services,
referral (p. 2).

A music therapy assessment requires the therapist to
discriminate whether the child performs at a level that can

be interpreted as demonstrating if the child is suitable

for music therapy treatment. Also, the therapist is asked

to determine the current level of functioning through

musical tasks for use in program planning when the child is

suitable for music therapy treatment.

A comprehensive individualized assessment,

culminating in the development of recommendations, should

include consideration of the following areas as they

concern the child:

-cognition: including reading, arithmetic, written

and oral language, color and shape recognition;
~affect and temperament: including attention span,
activity level, emotions, interaction, and self—concept;
—social and interpersonal skills: including
communication skills, feelings identification, and

interaction;

-motor skills: including both fine and gross motor

skills;

 

 

-mus
performanc
This
therapist
music the:
current It
The
gathering
various d:
is workin;
a) develo
skills, p
behavior,
b) behavi
during te
hOSpital)
diagnosis
Other age
Int
c°n°eptua
the actua
the asses
Only invc
the ther;
PreSente<
reSPORSe:

Utilized

 

16

—musical skills and interests: including aural and

performance abilities, and preferences.

This type of an assessment procedure will allow the
therapist to determine whether the child is suitable for
music therapy treatment and to determine the child's

current level of functioning.
The assessment is a complex activity, as it requires
gathering, integrating, organizing, and interpreting

various data. In a music therapy assessment, the therapist

is working with the following types of data:
a) developmental data-~including information about academic

skills, perceptual abilities, social skills, adaptive

behavior, and emotional and personality characteristics;

b) behavioral data--including observations of behavior

during testing and in the facility (i.e., school or

hospital); and c) medical data--including the given
diagnosis from a physician, psychiatrist, psychologist, or
other agencies.

Interpreting the assessment data can be

conceptualized as a chain with three main links. First are

the actual responses of the Child before, during, and after

the assessment. Although the actual assessment activities

only involve behavioral responses during the activities,

the therapist should be sensitive to other behaviors

presented by the child. ,Second, theories through which the

responses can be integrated and conceptualized need to be

utilized when synthesizing the information from the

 

 

17

assessment. Third, knowledge of what to do with the

derived information should be recalled before recording

data on the assessment form, which is inserted into the

child's records.
It is necessary to caution therapists implementing

and interpreting an assessment. Several factors may

influence the responses from the child. For example, the

child may be too anxious or nervous to perform the

assessment at his/her optimum level. Anxiety may be in the

form of separation anxiety, possibly caused by being away

from home during the initial phase of in-patient treatment,
or the child may be experiencing test anxiety during the

assessment. Other factors include the child's personality,

situational test demands, other tests recently taken by the

child, and medical influences, such as medication currently

being taken.
Failure to successfully respond to various tasks may

occur for a variety of reasons. Perhaps the child has

sensory impairments, motor impairments, or neurological

impairments. Careful analysis of a child's entire

performance is needed to arrive at a likely explanation of

any failures. Also, consulting with other professionals

involved with treating the child and seeking information
from the child's records should prove beneficial at this

time in the assessment process. As a rule, the therapist

should never report a failure without providing a possible

explanation.

 

18

A child's performance in a one-time assessment may be
inaccurate. This type of assessment gives information
about how the child performs at a specific moment under
specific conditions. The overall performance may not
reveal the underlying dynamic attributes that are
developing in the child. The therapist must look for signs
of insight or creativity masked or not directly assessed by
[the objective activities.

The child's performance must be seen as reflecting
not only the level of ability, but also the level of
motivation. Unfortunately, there is no way to single out
these variables. Since motivation greatly varies among
children, a pure ability interpretation of the performance
responses is preferred. However, the therapist can add
subjective interpretations regarding motivational factors
in the given area on the assessment recording form.

Formulating hypotheses from the assessment data
starts with a review and analysis of all data sources,
including formal (music activities) and informal
(observation) assessment results, clinical history, and
other available information in the child's records. On the
basis of this review, hypotheses can be formulated. Such
hypotheses might include whether the child would be a
potential client for music therapy treatment and the
current functioning level of the child in relation to the
child's performance with musical tasks. This information

is transferred to the assessment recording form. The

 

 

19
therapist uses the assessment recording form to aid in
determining treatment plans and inserts the form into the
child's permanent records.

The process of assessment in music therapy requires
the therapist to be a competent observer. The therapist
must also be able to integrate the observations into
objective test data and synthesize the data into relevant
information for intervention strategies with the child.
Assessment is a complex process, but an essential one to

the effective treatment of an individual.

 

CHAPTER II

REVIEW OF LITERATURE

Definitions
In reviewing related literature, the term
assessment has different connotations for different
professions. According to Webster's New Collegiate
Dictionary (1977), assess is defined in financial terms:
"1: to determine the rate or amount of (as a tax) 2a: to
impose (a tax) according to an established rate...4: to
determine the importance, size, or value of." Assessment
is defined simply as "the act or instance of assessing or
the amount assessed" (p. 67). For psychologists,
assessment means "any procedure for making meaningful
evaluations or differentiations among human beings with
respect to any characteristic or attribute" (Kelly, 1967,
p. 1). Cohen and Gericke (1972), a music therapist and a
physician respectively, refer to assessment as relating to
diagnosis and the gathering of information, the awareness
of the client's needs, the observation of behavior, and the
planning of a program for a particular client. Boxill
(1985), a music therapist, goes into more detail, regarding
assessment as:
A prerequisite for music therapy treatment planning,
it provides a unique contribution to the total
services of the client. The success of therapeutic
intervention is directly related to the quality of a
holistic assessment. Such assessment entails

identifying (a) developmental skills, (b) deficits
and discrepancies in functioning, (c) lags in

20

 

 

21

developmental milestones, (d) adaptive behaviors,

(e) behavioral problems, (f) emotional states and

disorders, (g) pathology (mental, physical,

pathological), and (h) strengths, interests, and

abilities (musical and nonmusical) (p. 24).
Throughout each of these definitions, it is clear that
assessment entails observing, collecting data, evaluating
data, and making decisions based upon the evaluation of the
data.

The terms assessment and evaluation are often
used interchangeably. The Standards of Clinical Practice,
published by the National Association for Music Therapy
defines assessment as "the process of determining the
client's level of functioning at a given point in time"

(p. 11). Whereas, evaluation is defined as ”the review of
a client's status in reference to the program plan goals,
with consideration given to the appropriateness and/or
necessary modification of the plan" (p. 11). For the
purpose of clarity in this study, these terms will be used
in the context of the above definitions.

The purpose of an assessment may be classified as
screening, counseling and rehabilitation, or progress
evaluation. A screening assessment entails a brief
examination given to identify children who are eligible for
certain programs or who have a disorder in need of
remediation or rehabilitation. It can also be used to
determine whether or not a more comprehensive diagnostic
assessment is needed by a psychologist or other

specialist. Counseling and rehabilitation assessments

 

 

 

22
involve evaluating the child's strengths and weaknesses in
a variety of areas, with an emphasis on the child's
abilities to adjust to and successfully fulfill daily
responsibilities. Possible responses to treatment and
recovery potential are also considered. A progress
evaluation assessment places its focus on evaluating the

child in relation to the charting of day—to—day or

week-to—week progress.

Typical questions in a comprehensive psychological
and educational assessment for children include:

1. What is the level of the child's cognitive
functioning?

2. If there is a handicap, how has it affected
the child's language, motor skills, self-concept,
interpersonal relations, and related areas?

3. How is the child performing academically?

4. What is the most appropriate educational
program and setting for the child?

5. What realistic goals can be set for the child?

6. How can the school and family deal more
effectively with the child's problems or handicaps?
(Sattler, p. 532)

Terms often associated with and used in the
assessment literature refer to the data collected in the
assessment process. There are two types of data:
subjective and objective. Subjective data is information
which originated from within one's mind, such as mental
concepts, ideas or beliefs. Objective data is
information that is derived from events or material of
actual existence or based on observable phenomena and is
uninfluenced by human emotion or personal prejudice.

Assessment and testing are often terms that are used

synonymously. Tests are simply devices to gather a

 

23
quantitative classification of one or more traits of an
individual, whereas assessment involves the entire process
of deriving at an individual's characteristics. Tests are
an integral part of the assessment process and are
classified in various ways. Three comparisons of tests are
often made: norm-referenced versus criterion—referenced
tests, speed versus power tests, and group versus
individual tests.

In a norm-referenced test, "a student's performance
is compared with that of other students'." In a
criterion-referenced test, a "student's performance is
compared against pre-determined levels of mastery" (Goodwin
& Driscoll, 1980, p. 58). Criterion-referenced tests show
whether or not a student can do a specified thing, while
norm-referenced tests show how the student performs in
comparison to outside norm groups.

A power test measures a full range of skills or
abilities without a time limit. A power test is used when
how much someone knows is more important than the speed of
performance. The items of a power test are ordered with
increasing difficulty. A speed test involves a time
limit in the testing procedure. Usually the level of
difficulty for each item of a speed test is such that given
unlimited time, all the items could be completed.

Individual tests are administered one person at a

time. Group tests may be administered to more than one

24
person at a time. Generally, group tests are administered
for educational screening; individual tests are
administered for diagnostic, classification, and
program-placement purposes.
Diagnostic terminology is listed in Figure 2 in order
to clarify the intended population for this music therapy

assessment. The diagnostic terminology is based upon the

 

criteria from the Diagnostic and Statistical Manual of

Mental Disorders, Third edition-Revised (DSM-III-R) (APA,

 

1987). This assessment is intended to be used in a variety
of clinical settings, therefore, the therapist is likely to
encounter any of the diagnostic categories found in the
DSM-III-R that encompass children. See Appendix A for an

explanation of each diagnostic category.

Music Therapy Assessments
In reviewing the literature related to music therapy
assessments for children, it is apparent that research is
lacking in this area. There exist a limited number of
available and/or published music therapy assessments or
assessment models for use with children, none of which are
standardized. The assessments are published through

articles by the develOper in the Journal of Music Therapy

 

or in separate publications. None of these assessments,
however, is designed to be used specifically with

autistically impaired, emotionally impaired, and learning

 

25

Mental Disorders of Infancy, Childhood, or Adolescence

I.

II.

III.

IV.

VII.

VIII.

IX.

XI.

Developmental Disorders

A. Mental Retardation

B. Pervasive Developmental Disorders

C. Specific Developmental Disorders

Disruptive Behavior Disorders

A. Attention-deficit Hyperactivity Disorder

B. Oppositional Defiant Disorder

C. Conduct Disorder

Anxiety Disorders of Childhood or Adolescence

A. Separation Anxiety Disorder

B. Avoidant Disorder of Childhood or Adolescence

C. Overanxious Disorder

Mood Disorders

A. Major Depressive Disorder

B. Dysthymia

Schizophrenia

Eating Disorders

A. Anorexia Nervosa

B. Bulimia Nervosa

C. Pica

D. Rumination Disorder of Infancy

Gender Identity Disorders

A. Gender Identity Disorder of Childhood

B. Gender Identity Disorder of Adolescence or
Childhood, Nontranssexual Type

C. Transsexualism

Tic Disorders

A. Tourette's Disorder

B. Chronic Motor or Vocal Disorder

C. Transient Tic Disorder

Elimination Disorders

A. Functional Encopresis

B. Functional Enuresis

Speech Disorders Not Elsewhere Classified

A. Cluttering

B. Stuttering

Other Disorders of Infancy, Childhood, or Adolescence

A. Elective Mutism

B. Identity Disorder

C. Reactive Attachment Disorder of Infancy or Early
Childhood

D. Stereotypy/Habit Disorder

Figure 2: An outline of the mental disorders of infancy,
childhood, or adolescence.

 

 

 

 

 

 

26
disabled children, ages five to ten. Each of these
assessments will be reviewed in this chapter.

Boone (1980) has developed the Diagnostic Assessment

 

of Music Related Expression and Behavior (D.A.M.R.E.B.).

 

This is an assessment for severely/profoundly
developmentally disabled persons. The purpose of the
D.A.M.R.E.B. is to provide the necessary information for
music therapy treatment planning. The categories for
assessment are: oral expression, instrumental expression,
motoric expression, imitation, emotional expression, and
interaction. Each category is explained in terms of music
tasks and behaviors. The assessment is administered one
category per session. The specific music tasks are
determined by the assessor, based upon the assessor's
musical abilities and the client's needs. Boone also
developed a Score Sheet for the D.A.M.R.E.B. The
D.A.M.R.E.B. is very time consuming and limited to the
severely/profoundly developmentally disabled population,
although the author suggests the assessment can be adapted
by the therapist to other populations.

Boxill (1985) included a chapter for assessment and
treatment planning in music therapy with the
developmentally disabled population. The book provides
useful information for the music therapy student and the
beginning professional. The most valuable aspects of this
Chapter are the norm-referenced developmental tables, the

listing of standard evaluative tests in all areas for the

 

 

27
developmentally disabled, the sample assessment form
designed by the author, and the practical formats suggested
for music therapy treatment planning with the
developmentally disabled. The assessment form included is
very complex, and the author does not provide activities or
methods to arrive at the data for completing the assessment
form. The areas in the assessment include: background
information, general characteristics, motor domain,
communication domain, cognitive domain, affective domain,
social domain, and musical behaviors.

Bruscia's text, Improvisational Models for Music

 

Therapy (1987), outlines several models of improvisational
music therapy techniques. Within the models, the topic of
assessment and evaluation is addressed. Although each
therapy model in the text addresses the issue of
assessment, only those models that describe assessment
techniques are reviewed.

Creative music therapy (the Nordoff-Robbins Model) is
presented in Unit 2 of Bruscia's text. Chapter 3 describes
the assessment process for creative music therapy. The
therapist observes the client's responses in the
therapist-client spontaneous music-making sessions. "As
the child responds to the various elements of improvised
music, s/he forms a 'musical self—portrait' that reveals
the whole personality" (p. 34). The purpose of assessment
in creative music therapy is to gather information for

directing the course of therapy. Nordoff-Robbins have

 

 

 

 

 

28
outlined three assessment models. First is the "Thirteen
Categories of Response". The purpose of this model is to

analyze how the child responds to music stimuli. Second
are the "Evaluation Scales I & II". Scale I is comprised
of ten levels which describe the client—therapist
relationship during musical activities focusing on two
dimensions: the client's level of participation and the
qualities of the client's resistance. Scale II involves
ten levels used to describe the client's musical
communicativeness in performance tasks. The third model of
assessment is "Musical Responses Scale III". This
evaluates the client's responses with regard to
instrumental rhythmic activity and singing. Each
assessment model contains a description of the appropriate
behaviors of the client with regard to the given musical
stimuli and of the method for documenting the client's
responses, although no forms are provided.

Free Improvisation Therapy (The Alvin Model) is
presented in Unit 3. Assessment and evaluation is
addressed in Chapter 8. This method is an informal
assessment to determine the client’s level of development
with regard to various relationships. Areas of development
are physical, intellectual, and social-emotional. The
evaluation is based upon the observation of the client's
behavior to listening tasks, instrumental activities, and
vocal activities. The method for documenting the client's

responses is not defined in Bruscia's text.

 

 

 

29

Analytical Music Therapy (The Priestly Model) is
described in Unit 4. Assessment and evaluation is
addressed in Chapter 11. In the analytical music therapy
model, assessment and evaluation are an intertwined and
ongoing process throughout treatment. The therapist
analyzes and interprets the client's responses to
improvisational music activities. The procedures and
stages for therapy most commonly followed are: Initial
Interview, The Emotional Spectrum, Analysis of Resistance,
Analysis of Ego Defenses, and Analysis of Psychosexual
Stages. Each stage is explained in the text in terms of
musical behavior. Records are written immediately after
each music therapy session. The precise format for
record-keeping is determined by the therapist.

Experimental Improvisation Therapy (The
Riordan—Bruscia Model) is explained in Unit 5. Assessment
and evaluation is addressed in Chapter 16. The primary
purpose of assessment is to monitor the dynamics of the
music therapy group with regard to behavior along three
axes: selfness/otherness, fusion/differentiation, and
stability/change. Each axis is explained and a chart, for
use with documentation, is provided within the chapter.

Paraverbal Therapy (The Heimlich Model) is explained
in Unit 7. Assessment and evaluation is addressed in
Chapter 22. Assessment is an integral part of paraverbal
therapy and is diagnostic in nature. The primary means of

collecting data are the paraverbal techniques used in

 

 

 

3O
therapy. Techniques explained in the chapter are:
instrumental rhythmic dialogues, dual dependent maneuvers,
the metaphoric use of instruments, art maneuvers, play
improvisations, and the metaphoric use of songs. Four
methods of record-keeping are described: clinical logs,
behavioral checklists, progress evaluation scales, and tape
recordings. The actual format for documentation must be
created by the therapist.

Integrative Improvisational Therapy (The Simpkins
Model) is described in Unit 8, Chapter 28. The purpose of
assessment is to determine the client's range and level of
sensorimotor, emotional, and interpersonal functioning.

Each area is defined in the chapter. The source of data
for the assessment is the client's spontaneous responses to
music. The method of documentation must be developed by
the therapist.

Improvisation Assessment Profiles (The Bruscia Model)
is presented in Unit 9. The Bruscia model of "client
assessment is based upon clinical observation, musical
analysis, and psychological interpretation of the client's
improvisation." The Improvisation Assessment Profiles
(IAP) focus on the process of musical improvisation and the
resulting product. "The IAP are not designed for observing
and analyzing other kinds of musical responses such as
listening, composing, or performing" (p. 403). The IAP
consist of six profiles: integration, variability, tension,

congruence, salience, and autonomy. (Each profile is

 

 

31
defined in Chapter 22 of the text.) The profiles are
designed to be used together as a comprehensive assessment
battery, although they may be used separately when needed.
The IAP is conducted in three simultaneous steps, requiring
several sessions. The steps are: clinical observations of
the client's improvisations, musical analysis of the
improvisations, and interpretation of the data. Each step
is explained in the text. The author provides extensive
directions for administering the IAP and interpreting the
data in Chapter 31 of the text. Chapter 33 provides
psychoanalytic and existential perspectives for analyzing
the IAP. The IAP scales and criteria for the scales are
provided in the appendix to Unit 9. The specific method
for documenting the IAP are not provided. The IAP appear
to be very time consuming to learn and to implement.

The assessment models provided in Bruscia's text are
based soley on the subjective interpretation of the
client's responses to musical improvisation. The models do
not provide data for functioning in cognitive, motor, and
language domains. Overall, the improvisational assessments
appear time-consuming to administer and do not provide
prescribed formats for therapist documentation.

Henry, Knoll, & Anderson (1982) compiled a book,

Music Works...A Handbook for Music Therapists, providing

 

forms for most every need. Chapter 6, titled "Service
Delivery and Documentation", is 105 pages of various forms,

such as samples of documentation, letters introducing music

 

 

 

32
therapy, referrals, progress notes, and various reports.
Overall, the forms are clear and concise, geared mainly
towards special education and private practice settings.
The authors compiled these forms adding little to no
explanation about how to use them. The assessment forms
are presented without any instructions of how to implement
the assessment and record assessment data. Also, there are
no guidelines or suggestions to help the therapist with the
music activities to be used when implementing an
assessment.

Michel and Rohrbacher (1982) edited The Music Therapy

 

Assessment Profile for Severely/Profoundly Handicapped

 

Persons (MTAP). The MTAP is for both assessment and

 

evaluation purposes. It is intended to be used by music
therapists to assess and develop treatment programs, not to
be used as a comprehensive diagnostic tool. The MTAP is
designed to attain a profile of the individual's responses
with musical stimuli. This assessment encompasses the
following developmental skill areas: motor (gross, fine and
perceptual), communication or language (nonverbal and
verbal), cognitive or conceptual, and social—emotional.

The MTAP is currently limited to development of 0-27 months
age level; however, the editors intend to extend all
developmental categories to the 36 month age level. The
MTAP is administered in one hour or less by the experienced
music therapy assessor. The instructions to administer the

MTAP are vague. They do not instruct the assessor with

 

 

 

33
what items to begin the assessment session; for example, if
the client exhibited a seemingly higher level of
functioning than the 0—2 month level where the tasks begin,
should the assessor begin at the 0-2 month level or proceed
to the 12-15 month level? Also, the MTAP does not instruct
what to do if the client continually fails items; that is,
should the assessor stop the sessions after four
consecutive test items are incorrectly performed? Michel
and Rohrbacher have indicated that the procedures for
administering the MTAP will be clarified in the next
printing of the MTAP. All items test behaviors or skills
using prescribed musical tasks. The items are scored as
either passed or failed, and each item provides the
assessor with a description of passing responses. Results
are charted on the MTAP graph. The MTAP may also provide
the therapist with some expectation of developmental skills
that may emerge at the next stage beyond the current
develelopmental level. The MTAP is limited to the
severely/profoundly developmentally disabled population and
it is cumbersome to learn all the test items.

Rider (1981) has developed a Musical—Perception
Assessment of Cognitive Development (M-PACD). The visual
assessment tasks of Jean Piaget were a model in developing
and administering fifteen auditory tasks. The tasks
include such concepts as class inclusion, conservation,

mental imagery, and seriation. The Journal of Music

 

Therapy article includes a description of the fifteen

 

 

 

34
tasks. The study concludes that the M—PACD is consistent
in task acquisition order and is valid in ascertaining
mental age. M—PACD is designed to be used with ages 2 to
12. It is a very complex assessment for a therapist to
learn and does not provide the therapist with the current
level of functioning of the child in the affective, motor,
and social domains.
Sutton (1984) has designed a Music Therapy

Physiological Measures Test (MTPMT). A copy of the MTPMT
form and an explanation of the test is included in the

Journal of Music Therapy. The MTPMT is a valid and easily

 

administered method for recording gross and fine motor
movements. The test may be helpful to therapists using
musical instruments to facilitate physical rehabilitation
within a variety of settings. The MTPMT is not useful as a
comprehensive music therapy assessment, as it does not
assess the affective, cognitive, and social domains.

The music therapy assessments for children that are
currently available are designed primarily for
developmentally disabled or for diagnostic purposes. Boone
and Boxill have developed screening or progress evaluation
assessment tools for develpmentally disabled children.
Sutton has developed a music therapy assessment for
physiological measures for children, regardless of their
handicap. Bruscia has developed a screening
improvisational music therapy assessment tool with

children, regardless of their handicap; however, this

 

 

35
assessment does not provide a baseline for the child's
level of academic functioning. Several other
improvisational assessment models are presented in
Bruscia's text. Henry, Knoll, and Anderson have outlined
assessment procedures for use with music therapy in special
education and private practice settings. Michel and
Rohrbacher designed a diagnostic music therapy assessment
tool for severely/profoundly handicapped persons, limited
to the developmental age level of 0-27 months. Rider has
developed a diagnostic music therapy assessment tool for
the cognitive development of 2-12 years of age. There are
no comprehensive music therapy assessment tools designed
for use specifically with autistically impaired,
emotionally impaired, or learning disabled children. The
Music Therapy Profile of Children's Abilities has been

designed specifically for this purpose.

 

 

 

CHAPTER III

METHODOLOGY

Sample

The sample population for this study consisted of
seven children, two female and five male, ages six to
nine. One autistically impaired child and three
emotionally impaired and three learning disabled children
participated in this study. The subjects were from two
elementary special education classes in a midwestern urban
school district. Each class consisted of nine children,
one teacher's aide, and one special education teacher. One
class contained learning disabled children and the other
class consisted of autistically impaired and emotionally

impaired children.

Instrumentation

The Music Therapy Profile of Children's Abilities

 

The Music Therapy Profile of Children's Abilities
(MTPCA) was developed for use in this study and has been
designed with both assessment and evaluative capabilities.
The MTPCA was developed to be administered prior to
treatment as a pretest, assessing the child's behaviors and
providing baseline information for treatment planning. It
was also designed to be administered following treatment as
a posttest to evaluate for changes that may have occurred

during the treatment process. This study will test only

36

 

 

 

37
for the purpose of assessment of the MTPCA due to severe
time constraints.

The MTPCA consists of seven sections: Academic Skills,
Communication Skills, Motor Skills, Affective
Characteristics, Social Skills, Auditory Perception Skills,
and Musical Preferences. Each section is divided into
appropriate categories to measure the child's performance
in the designated area.

The Academic Skills section consists of 2 parts:
Classroom Behavior and Basic Concepts. Classroom Behavior
involves such areas of the child's behavior as remaining in
an assigned area, attending to task, following directions,
and working independently. Basic Concepts includes such
academic concepts as: colors, shapes, numbers, letters, and
body parts.

The second section, Communication Skills, contains 5
parts: Pre-Verbal Expression, Receptive Language,
Expressive Language, Vocabulary, and Articulation. This
section analyzes those skills necessary for communication,
such as initiating vocal sounds and words; expressing
ideas, wants, and needs; and using phrases or sentences.

Motor Skills, the third section, includes 2 parts:
Gross Motor Skills and Fine Motor Skills. Both of these
parts involve motor skills that are utilized in music
therapy treatment, such as eye—hand coordination, motor

sequences, and independent finger movement.

 

 

38
The fourth section, Affective Characteristics,
consists of 2 parts: Self-Concept and Emotions.

Self—Concept includes such items as: makes positive

comments about self, displays pride in work, and maintains

eye contact. The Emotions part consists of the usage of
facial affect, expression of appropriate emotions, and
identification of emotions.

The content of the fifth section, Social Skills,
includes two parts: Interaction and Attention
Span/Compliance. Interaction involves such topics as
appropriate communication, taking turns, and initiating
interaction with others. Attention Span/Compliance
contains items involving responses to defined limits, and
accepting and asking for help when needed.

The sixth section, Auditory Perception Skills,
contains two parts: identification of changes/differences
in timbre, dynamics, pitch, rhythm, and tempo; and
imitation of single pitches, simple phrases or melodies,
simple rhythms, dynamics, and tempos.

The seventh section consists of the Musical
Preferences of the child for instruments and music styles.

The assessor is asked to indicate the child's
responses by checking the suitable items on the MTPCA
Recording Form. This includes either checking the
appropriate category or item or listing the actual
responses of the child during the assessment. For many

items, the assessor must indicate a response about the

 

 

39
child's behavior regarding the item using an interval scale
of: "never", "rarely", "sometimes", "frequently”, and
"always". The final portion of the MTPCA Recording Form
includes a narrative format; that is, a summary of the
assessor's observations and interpretations of the
assessment are written in the Assessment Summary and the
Recommendations sections of the form.

The MTPCA is designed so that the information needed
to complete the recording form can be derived from one
assessment session, lasting approximately 45 minutes. Data
can be derived from the use of the musical activities
prescribed in the MTPCA Therapist's Manual. The activities
for the Auditory Perception Skills have been designed by
the author specifically for the MPTCA. All of the other
music activities used in the MTPCA are from the Hap Palmer

Favorites: Songs for Learning Through Music and Movement

 

(1981) and are used by permission from Hap Palmer. These
songs are: "A Pocket Full of B's", "All the Colors of the

I!“
1'

Rainbow", "Be My Friend", "Countdown", eelings”, "Play

Your Sticks", and "Shake Something".

Procedure
The school district was contacted for approval to
allow children from two special education classrooms to
participate in this study. Once the approval was
authorized, the subjects took an Informed Consent

Authorization Form (Appendix B) to their parent or

 

40

guardian. The form includes a written description of the
study and of the subject's role and rights in this study.
If willing to participate, the parent or guardian and the
child signed the consent authorization form acknowledging
willingness to participate in this study. The children
returned the form to the classroom teacher. Once informed
consent was obtained, the data collection process began.

Three Registered Music Therapists—Board Certified, two
female and one male, administered the MTPCA. Before
beginning the administration of the MTPCA, the three music
therapists met for a training session of the MTPCA
Therapist's Manual. The Therapist's Manual contains
background information regarding the assessment process,
the MTPCA music activities, the MTPCA Recording Form, and
instructions to conduct the activities and complete the
recording form. The manual was revised as a result of this
training session. The revised MTPCA Therapist's Manual is
found in Appendix C. The training session included
instructions by the author for implementing the MTPCA and
using the MTPCA Recording Form. Time also was used to
practice the music activities in the MTPCA.

Testing occurred on two days; four children were
tested the first day and three were tested the second day.
The MTPCA took 45—60 minutes to administer. The
assessments were administered in a small room near the
children's classrooms in the elementary school. During the

data collection process, a music therapist met individually

 

 

 

41

with each subject to administer the MTPCA. A second music
therapist was also present in the room to operate the
video—recording camera. The third music therapist was not
present in the room during the administration of the
MTPCA. The male music therapist implemented the MTPCA with
three subjects and the female music therapists each
implemented the MTPCA with two subjects. Each subject
participated in only one assessment session. Each session
was video-recorded; the video-recordings were erased when
the study was completed to preserve the subject's
confidentiality.

The music therapists completed the MTPCA Recording
Form for each child to whom they adminisitered the MTPCA.
These forms were completed based on their observations
during the actual administering of the MTPCA. The music
therapists also completed the MTPCA Recording Form for the
other children involved in this study after viewing the
Video-recording of the assessment session. This means that
each music therapist completed a MTPCA Recording Form for
each subject participating in this study. The music
therapists used a given identification number for each
child's name on the MTPCA Recording Form to insure
confidentiality and objectivity on the part of the
researcher tabulating the results. Also, each child was
identified on the video—recording only by the

identification number to preserve the subject's

confidentiality.

 

 

 

 

 

42

After the three therapists completed all nine of the
MTPCA Recording Forms, each scaled item of the MTPCA
Recording Form was analyzed and the designated statistical
procedures performed to determine the interscorer
reliability of the MTPCA. This process is further
described in the Statistical Analysis section of this
chapter.

The classroom teachers completed the Teacher's
Questionnaire (Appendix D) for each child participating in
this study. The questionnaire consists of the same
information as on the MTPCA recording form. The teachers
completed these based on their knowledge of the subject's
performance in the classroom and from the results of
previous educational and psychological testing. The three
music therapists' MTPCA Recording Forms for each child were
compiled together by the author to form a consensus MTPCA
Recording Form for each child. After the questionnaires
were completed, the author compared the results of the
teacher's questionnaires with those of the music
therapists' consensus MTPCA Recording Forms. The results
were tabulated and the designated statistical procedures
were performed to determine the reliability among outside
sources and the panel of judges with the MTPCA. This

process is further described in the Statistical Analysis

section of this chapter.

 

 

43
Statistical Analysis

The purpose of the statistical analysis is to
determine the reliability of the MTPCA. In this study, the
sample size is relatively small, seven subjects. Although
a larger sample would be preferrable, time constraints did
not allow for increasing the number of subjects in the
study. The small sample size limits the type of
statistical procedures. Within this limitation, the
following statistical procedures were executed.

Reliability is the consistency of measurements. With
the MTPCA, reliability is the consistency with which the
test measures children's behaviors. Sattler (1988) states
that "interscorer reliability is the most important form of
reliability for behavioral observations" (p. 510).
Interscorer reliability is based on consistency among
judges and becomes important when tests require assigning a
particular score to items. Estimates of interscorer
reliability are based on scores of two or more observers
who record the same information while independently
observing the same child. Thus, the interscorer
reliability was analyzed for each scaled MTPCA test item.

The purpose of the MTPCA is for music therapy
screening. The Pearson product—moment correlation was
computed for each scaled test item. According to Taylor
(1984), a reliability coefficient of .60 is desirable for
eValuating screening assessments. For each MTPCA item that

had a reliability coefficient of at least .60, a t score

44
was computed to derive the significance level of the
coefficient.

To compute the correlation coefficient, the scaled
responses were assigned the following values: never = 1,
rarely = 2, sometimes = 3, frequently = 4, always = 5.

The MTPCA scaled items that were scored N/O (not observed)
or N/A (not applicable) by the music therapists were given
a score value of l in order to facilitate computing the
correlation coefficient.

The Pearson product-moment correlation was computed
among the scores of the three music therapists for each
subject with the MTPCA items. Each item was correlated
three times with three different pairings of judges, since
only two therapists' responses can be compared at one time.
The three correlations were averaged to provide an overall
correlation score for each test item. This procedure was
completed to derive the interscorer reliability of the
MTPCA.

The three music therapists' MTPCA Recording Forms for
each subject were compiled together for a consensus MTPCA
Recording Form for each subject. The two classroom
teachers completed a Teacher's Questionnaire for each
subject who participated in this study from their
respective classes. The Pearson product-moment correlation
was computed for each scaled item with the therapist's
consensus recording form and the teacher's questionnaire.

For each scaled test item, two correlations were computed:

45
one between the music therapists' consensus MTPCA Recording
Forms and the Teacher's Questionnaires for the learning
disabled subjects, and the second between the music
therapists' consensus MTPCA Recording Forms and the
Teacher's Questionnaire for the emotionally impaired and
autistically impaired subjects, thus accounting for the two
teachers and the two classes. This procedure was done to

analyze the external source reliability of the MTPCA.

 

CHAPTER IV

RESULTS

Reliability Analysis

Interscorer reliability was computed between the three
music therapists scores for all children with each MTPCA
scaled item. There were three reliability coefficients
determined for each test item, the three coefficients have
been averaged together for a mean realibility coefficient
for each MTPCA scaled item. External source reliability
was computed a) with the consensus music therapists MTPCA
Recording Forms and the Teacher's Questionnaires among the
learning disabled subjects for each MTPCA scaled item, and
b) with the consensus music therapists MTPCA Recording
Forms and the Teacher's Questionnaires among the
emotionally impaired and autistically impaired subjects.
The reliability results are reported in the order the items
appear on the MTPCA Recording Form. See Appendix E for the

statistical figures for each scaled item.

Interscorer Reliability
I. Academic Skills
The following items resulted in a correlation

coefficient of at least .60.

A.l. Sits in assigned area r = .61, P = .2
A.2. Does not interrupt others r = .85, P = .02
A.3. Attends to task r = .63, P = .1

47
The items A.4. Follows directions and A.5. Completes
task independently resulted in correlation coefficients
of .54 and —.06 respectively.
The item A.6. Other was not used by the music

therapists.

Section B. Basic Concepts does not contain scaled
items. The music therapists responses for items B.l. Color
identification, B.2. Shapes identificaion, B.3. Counting,
numbers concept, B.4. Alphabet, letters concept, and B.5.
Identifies body parts resulted in total agreement. The

item 3.6. Other was not used by the music therapists.

II. Communication Skills

Section A. Pre-Verbal Expression does not contain
scaled items. Among the music therapists, there was total
agreement that this section was not applicable for five of
the subjects. For two subjects, the following observations
were made for item A.1. Makes vocal sounds: makes low

. . H H
glottoral vocalizations and uses a monotone ah sound.

The following scaled items resulted in correlation
coefficients of at least .60.
C.1. Expresses simple ideas (verbally) r = .63,
P = .1
C.3. Expresses wants/needs (verbally)

r(01 & 03) = .66, P = .1 The correlations between

48
observers l and 2 and observers 2 and 3 are considered to
be 0 since observer 2 used the same rating for each

subject.

D.2. Uses verbs/action words r = .83, P = .02
B.4. Speaks in sentences (simple sentences) r = .69,
P= .1

A correlation coefficient below .60 occurred among the
following items.

B.1. Attends to message/instructions r(02.& 03) = .39
The correlations between observers 1 and 2 and observers l
and 3 are considered to be 0 since observer 1 used the same
score for each subject.

B.2. Makes eye contact during conversation r = .07

B.3. Responds to message/instructions (verbally)

r = -.23
B.3. Responds to message/instructions (physically)

.26 The correlations between

r(02 & O3)
observers 1 and 2 and observers 2 and 3 are considered to

be 0 since observer 1 used the same score for each subject.

C.1. Expresses simple ideas (nonverbally) r = .20
C.2. Expresses feelings (verbally) r = .21

C.2. Expresses feelings (nonverbally) r = .10
C.3. Expresses wants/needs (nonverbally) r = -.06
C.4. Expresses with feeling (verbally) r = .22
C.4. Expresses with feeling (nonverbally) r = .30

D.1. Verbalizes names of objects r = .50

49
D.3. Speaks in 1-2 word phrases r = -.17

B.4. Speaks in sentences (complex sentences) r = .53

Items B.4. Other and D.5. Other were not used by the
music therapists. For item C.5. Other, Loose thinking was

added by a music therapist for one of the subjects.

Section E. Articulation was used for all of the'
subjects. The music therapists recorded the areas of
deficiency with the subjects for E.l. Vowels, E.2.
Consonants, and E.3. Letter combinations. The following
observations were recorded for E.4. Other: often deletes
end syllables, often slurs beginning syllables, general
poor enunciation, speaks with a soft volume, speaks with a
nasal tone, speaks with restricted use of lip and tongue
movements, speaks with little flexibility with intonation,

and poor speech possibly due to missing front teeth.

III. Motor Skills

The item A.1. Beats a steady beat (with an instrument)

resulted in a correlation coefficient of at least .60

(r = .68, P = .1).

The following items resulted in a correlation

coefficient below .60.

A.1. Beats a steady beat (other: i.e., clapping,

patting) r = .28

50
A.2. Claps hands (consistent with good sound
production) r = .11
A.3. Completes motor sequences r = .17
A.4. Ambulates smoothly r = .27
B.1. Grasps with right hand r(02 & 03) = 0
The correlation coefficients among observers l and
2 and observer 1 and 3 are considered to be 0 since
observer 1 used the same rating for each subject.
B.l. Grasps with left hand r = .07
B.2. Uses 2 hands independently r = .25
B.3. Eye-hand coordination; well demonstrated r = .39

B.4. Uses independent finger movement r = .08

Item A.5. Other received the following comments by the
music therapists: inhibited in large body movement and
rocking while standing. The task "Beats correct rhythm
patterns" was added to item B.5. Other by one music

therapist.

IV. Affective Characteristics

The following items resulted in a correlation

coefficient of at least .60.

A.1. Makes positive comments about self r = .66,
P = .1
A.3. Perseveres at difficult tasks r = .71, P = .1

B.4. Identifies situations/examples of different

emotions r = .78, P = .05

 

 

-_£

 

 

 

 

51
The following items resulted in a correlation
coefficient of below .60.
A.2. Displays pride in work (verbally) r = .48
A.2. Displays pride in work (nonverbally) r = .06
A.5. Maintains eye contact r = .23
A.6. Exhibits healthy grooming habits/appearance
r = .43
B.1. Actively responds with physical &/or facial affect
r = .59
B.2. Expresses apprOpriate emotions (verbally)
r = -.70
B.2. Expresses appropriate emotions (nonverbally)
r = .31

B.3. Identifies emotions r = -.04

The responses for Item A.4. Gives personal
identification, a non-scaled item, resulted in total
agreement among the music therapists. Item A.7. Other was
not used by the music therapists. The comment "Facial
expressions stiff and forced" was added in item B.5. Other

for one subject.

V. Social Skills

The following items resulted in a correlation
coefficient of at least .60.

B.1. Responds when name is called r(02 & 3) = .62,

P = .2 The correlations among observers 1 and 2

 

 

 

:L

 

52
and observers 1 and 3 are considered to be 0 since observer
1 used the same rating for each subject.

B.2. Responds to defined limits r = .74, P = .05

B.3. Accepts help from others r .77, P = .05

B.6. Participates appropriately r = .61, P - .2

The following items resulted in correlation
coefficients below .60.
A.1. Communicates in appropriate manner (verbally)
r = .30
A.1. Communicates in appropriate manner (nonverbally)
r = -.15
A.2. Initiates interaction r = .23
A.3. Takes turns and shares r(02 & 03) = .37
The correlations among observers 1 and 2 and
observers l and 3 are considered to be 0 since observer 1
used the same rating for each subject.
A.4. Interacts appropriately (verbally) r = .46
A.4. Interacts appropriately (nonverbally) r = .20
B.4. Offers help to others r = .38

B.5. Asks for help when needed r = .26

Item A.5. Other was not used by the music therapists.
For the item 3.7. Other, one music therapist made the
comment that the subject asked whether the task was done or

what he/she was doing during the task.

 

 

 

53

VI. Auditory Perception Skills
A. Identifies Changes/Differences

The tasks for section A are not scaled items. The
music therapists responses for A.1. Timbre, A.2. Dynamics,
A.3. Pitch, A.4. Rhythm, and A.5. Tempo resulted in total
agreement.
B. Imitation

The tasks for section B are not scaled items. The
responses for items B.3. Simple rhythms, B.4. Dynamic
levels, and B.5. Different Tempos resulted in total
agreement. The responses for items B.l. Single pitches and
B.2. Simple phrases (melodies) resulted in agreement among
the therapists for four subjects. For three subjects,
there were discrepancies among the therapists responses for

the items B.l. and B.2.

Item B.6. Other was not used by the music therapists.

VII. Musical Preferences

The items for this section are not scaled items. The
responses for A. Instruments resulted in total agreement
among the music therapists. The item B. Styles was not

used with any of the subjects by the music therapists.

VIII. Activities/Instruments used in the assessment
The music therapists listed the music activities
performed in the MTPCA assessment session and which

instruments were used by the therapist and the subject.

 

it. "

 

 

54
IX. Assessment Summary
The therapists wrote a summary of their observations
and their interpretation of the subjects behavior during
the assessment session in this section of the MTPCA

Recording Form.

X. Recommendations
The music therapists wrote their recommendations for
music therapy treatment and outlined goal areas for each

subject in this section of the MTPCA Recording Forms.

External Source Reliability Between Scorers and Teacher
Evaluations for Learning Disabled subjects
I. Academic Skills

The external source reliability resulted in correlation
coefficients below .60.

A.4. Follows directions r = -.50

A.5. Completes task independently r = .50

The coefficients for the items A.l Sits in assigned
area, A.2. Does not interrupt others, and A.3. Attends to
task are considered to be 0 since one of the music
therapists derived the same score for each subject.

The item A.6. Other was not used by the teacher.

B. Basic Concepts
The items in this section do not require scaled

responses. The responses for item B.1. Color

55
identification resulted in total agreement among the
therapists and the teacher.

The responses for item B.2. resulted in total agreement
for all shapes except "octagon". The teacher indicated
that all subjects could not identify this shape; however,
the therapists indicated all subjects correctly identify
the shape as a "stop sign".

The responses for item B.3. Counting, numbers concept
resulted in agreement for one subject. For two subjects,
the music therapists indicated a lower range of counting
than the teacher.

The responses for item B.4. Alphabet, letters concept
resulted in agreement for the task "Identifies individual
letters". The task "Says alphabet" was not observed among
the learning disabled subjects by the music therapists.

The responses for item B.5. Other resulted in total
agreement for all subjects.

The item B.6. Other was not used by the teacher.

II. Communication Skills

The items for section A. Pre-Verbal Communication are
not scaled items. The responses for items A.1. Makes vocal
sounds, A.2. Imitates syllables, and A.3. Vocalizes
sequence of sounds resluted in total agreement. The item

A.4. Other was not used by the teacher.

56

The following items resulted in a correlation

coefficient of at least .60.

B.2.

Makes eye contact during conversation r = 1.00

Expresses feelings (verbally) r = 1.00

Expresses with feeling (verbally) r = .76,
P = .05

Verbalizes names of objects r = 1.00

Uses verbs/action words r = .76, P = .05

Speaks in 1-2 word phrases r = .87, P = .01
Speaks in sentences (simple sentences) r = .99,

P = .01

The following items resulted in correlation

coefficients below .60.

Expresses simple ideas r = 0

Expresses feelings (nonverbally) r = .50
Expresses with feeling (nonverbally) r = .50
Speaks in sentences (complex sentences) r = .33

The correlations for the following items is considered

to be 0 since the music therapists used the same rating for

each learning disabled subject.

B.1.

Attends to message/instructions

Responds to message/instructions (verbally)
Responds to message/instructions (physically)
Expresses simple ideas (nonverbally)

Expresses wants/needs (verbally)

 

 

 

57
C.3. Expresses wants/needs (nonverbally)
The items B.4. Other, C.5. Other, and D.5. Other were

not used by the teacher for the learning disabled subjects.

The items for section E. Articulation are not scaled
items. The teacher noted that two subjects had deficits in
many areas of articulation and did not indicate specific
deficts. For these two subjects, the therapists had
specified several articulation deficits. For the third
subject, the teacher commented there were no areas of
deficit; however, the therapists noted some areas of

deficit.

III. Motor Skills
The following items resulted in correlation
coefficients below .60.

B.1. Grasps with left hand r = .50

B.2. Uses 2 hands independently r = -.49
B.3. Eye—hand coordination; well demonstrated r = -.49
B.4. Uses independent finger movement r = —.99

The item A.1. Beats a steady beat (with an instrument)
is considered to have a 0 correlation because both the
music therapists and the teacher used the same rating for
each subject. The items A.l Beats a steady beat (other:
i.e. clapping, patting), A.2. Claps hands, and A.3.

Completes motor sequences are considered to have a O

58

correlation since the teacher used the same rating for each
subject. The items A.4. Ambulates smoothly and B.1. Grasps
with right hand are considered to have a correlation of 0
since the music therapists used the same rating for each
child.

The items A.5. Other and B.5. Other were not used by
the teacher.
IV. Affective Characteristics

The following items resulted in a correlation
coefficient of at least .60.

A.5. Maintains eye contact r = 1.00

B.2. Expresses appropriate emotions (nonverbally)

r = .87, P = .05
B.4. Identifies situations/examples of different

emotions r = 1.00

The following items resulted in correlation
coefficients below .60.
A.1. Makes positive comments about self r = —.99
A.2. Displays pride in work (verbally) r = O
A.6. Exhibits healthy grooming habits/appearance
r = —.87
B.1. Actively responds with physical &/or facial affect

r = .50

The correlation coefficient for items A.2. Displays

pride in work (nonverbally) and A.3. Perseveres at

59
difficult tasks is considered to be 0 since the music
therapists used the same rating for each subject. The
correlation coefficient for items B.2. Expresses
appropriate emotions (verbally) and B.3. Identifies
emotions is considered to be 0 since the teacher used the
same rating for each subject.

The items A.7. Other and B.5. Other were not used by
the teacher. The item A.4. Gives personal identification,
a non-scaled item, resulted in agreement among the music
therapists and the teacher for two of the three subjects.
For one subject, the music therapists indicated the subject
could say his/her first and last name, while the teacher
indicated that the subject could say only his/her first

name .

V. Social Skills
The following items resulted in a correlation
coefficient of at least .60.

A.1. Communicates in appropriate manner (nonverbally)

r = 1.00

A.2. Initiates interaction r = .87, P — .02

B.3. Accepts help from others r — 1.00

The following items resulted in correlation coefficients

below .60.
A.3. Takes turns and shares r = —.50
A.4. Interacts appropriately (nonverbally) r = —.99

 

 

60
B.2. Responds to defined limits r = —.99
B.4. Offers help to others r = 0
B.5. Asks for help when needed r = .50

B.6. Participates appropriately r — —.49

The correlation coefficient for item A.1. Communicates
in appropriate manner (verbally) is considered to be 0
since the teacher used the same rating for each subject.
The correlation coefficients for items A.4. Interacts
appropriately (verbally) and B.1. Responds when name is
called are considered to be 0 since the music therapists
used the same rating for each subject.

The items A.5. Other and B.7. Other were not used by

the teacher.

VI. Auditory Perception Skills

The items for this section are not scaled items. The
teacher indicated whether each subject exhibited the
ability to auditorally discriminate sounds and whether each
subject could reproduce specific sounds.

The comparison among the teachers and the therapists
responses for part A. Identifies Changes/Differences in
items: A.1. Timbre, A.2. Dynamics, A.3. Pitch, A.4. Rhythm,
and A.5. Tempo resulted in agreement for each subject.

The comparison among the teachers and the therapists
responses for part B. Imitation items B.3. Simple rhythms,

B.4. Dynamic levels, and B.5. Different tempos resulted in

61
agreement for each subject. The teacher and therapists
responses did not result in agreement for items B.1. Single
pitches and B.2. Simple rhythms. Item B.6. Other was not

used by the teacher.

External Source Reliability Between Scorers and Teacher
Evaluations for Emotionally Impaired and Autistically
Impaired Subjects
I. Academic Skills

The external source reliability resulted in correlation

coefficients below .60.

A.1. Sits in assigned area r = -.19

A.2. Does not interrupt others r = .19
A.3. Attends to task r = -.26

A.4. Follows directions r = 0

A.5. Completes task independently r = -.13

Item A.6. Other was not used by the teacher.

The items in section B. Basic Concepts are not scaled
items. The responses for item B.1. Color identification
resulted in total agreement for all subjects.

The responses for item B.2. Shapes identification
resulted in agreement for all shapes except triangle,
diamond, and hexagon.

The responses for item B.3. Counting, numbers concept
resulted with the therapists indicating a lower counting

range for each subject than the teacher.

 

 

 

62
The responses for item B.4. Alphabet,letters concept
and B.5. identifies body parts resulted in agreement for

all subjects.

The item B.6. was not used by the teacher.

II. Communication Skills
The items for part A. Pre-Verbal Expression were not
used by the teacher.
The following items resulted in correlation
coefficients of at least .60.
B.3. Responds to message/instructions (verbally)
r = .87, P = .01

C.2. Expresses feelings (nonverbally) r = .90, P - .01

D.4. Speaks in sentences (simple sentences) r = 1.00
D.4. Speaks in sentences (complex sentences) r = .78,
P = .05

The following items resulted in correlation

coefficients below .60.

B.1. Attends to message/instructions r = 0

B.2. Makes eye-contact during conversation r = -.17
C.1. Expresses simple ideas (verbally) r = .13

C.1. Expresses simple ideas (nonverbally) r = O
C.2. Expresses feelings (verbally) r = —.33

C.3. Expresses wants/needs (nonverbally) r = O

C.4. Expresses with feeling (verbally) r= .52

C.4. Expresses with feeling (nonverbally) r = .47

 

 

 

 

63

The items B.3. Responds to message/instructions
(physically) and C.3. Expresses wants/needs (verbally) are
considered to have a 0 correlation since the music
therapists used the same rating for each subject. The
items D.1. Verbalizes names of objects, D.2. Uses
verbs/action words, and D.3. Speaks in 1—2 word phrases are
considered to have a 0 correlation since the teacher used
the same rating for each subject.

The items B.4. Other, C.5. Other, and D.5. Other were
not used by the teacher.

The items for part E. Articulation, a non—scaled
section of the MTPCA, resulted in agreement for all the

subjects.

III. Motor Skills

The following items resulted in correlation

coefficients of at least .60.

A.1. Beats a steady beat (with an instrument) r = .66,
P = .05
A.3. Completes motor sequences r = .82, P = .05

The following items resulted in correlation

coefficients below .60.
A.1. Beats a steady beat (other: clapping, patting)
r = .58
A.2. Claps hands (consistent with good sound

production) r = .58

64

A.4. Ambulates smoothly r = 0

B.1. Grasps with left hand r = -.17
B.2. Uses two hands independently r = -.33
B.3. Eye—hand coordination r = .58

The correlation for items B.1. Grasps with right hand
and B.4. Uses independent finger movement is considered to
be 0 since the music therapists used the same rating for
each subject. The items A.5. Other and B.5. Other were not

used by the teacher.

IV. Affective Characteristics
The following items resulted in a correlation

coefficient of at least .60.

A.1. Makes positive comments about self I = .82,

P = .02
A.3. Perseveres at difficult tasks r = .78, P = .02
A.5. Maintains eye contact r = .65, P = .l

B.1. Actively responds with physical &/or facial affect
r = .95, P = .01
B.2. Expresses appropriate emotions (verbally) r = .96,

P = .01

The following items resulted in a correlation
coefficient of below .60.

A.2. Displays pride in work (verbally) r = —.76

A.6. Exhibits healthy grooming habits/appearance

r = -.58

65
B.2. Expresses appropriate emotions (nonverbally)
r = .30
B.3. Identifies emotions r = .43
B.4. Identifies situations/examples of different

emotions r = 0

The correlation for item A.2. Displays pride in work
(nonverbally) is considered to be 0 since the teacher used
the same rating for each subject. The items A.7. Other and
B.5. Other were not used by the teacher.

The responses for item A.4. Gives personal
identification, a non—scaled item resulted in total

agreement.

V. Social Skills
The following items resulted in correlation
coefficients of at least .60.
A.4. Interacts appropriately (verbally) r = .85,
P = .05
B.5. Asks for help when neeeded r = .65, P = .1

B.6. Participates appropriately r = .95, P = .01

The following items resulted in correlation
coefficients below .60.
A.1. Communicates in appropriate manner (verbally)
r = .58

A.4. Interacts appropriately (nonverbally) r = -.33

 

66
B.2. Responds to defined limits r = .30
B.3. Accepts help from others r = O

B.4. Offers help to others r = -.36

The correlations for items A.1. Communicates in
appropriate manner (nonverbally), A.2. Initiates
interaction, and B.1. Responds when name is called are
considered to be 0 since the teacher used the same rating

for each subject. The correlation for item A.3. Takes

 

turns and shares is considered to be 0 since the music
therapists used the same rating for each subject.
The items A.5. Other and B.7. Other were not used by

the teacher.

VI. Auditory Perception Skills

The items for this section are not scaled items.
A. Identifies Changes/Differences

The responses for items A.1. Timbre, A.2. Dynamics
resulted in agreement for two subjects and disagreement for
two subjects.

The responses for items A.3. Pitch and A.4. Rhythm

resulted in agreement for three subjects and disagreement

 

for one subject.
The responses for A.5. Tempo resulted in agreement for

all subjects.

 

-_.~

 

 

67

B. Imitation

The responses for item B.1. Single pitches resulted in

agreement for one subject and disagreement for three

subjects.

The

responses for item B.2. Simple phrases (melodies)

resulted in agreement for three subjects and disagreement

for one
The
Dynamic

The

subject.
responses for items B.3. Simple rhythms and B.4.
levels resulted in agreement for all subjects.

responses for item B.5. Different tempos resulted

in agreement for two subjects and disagreement for two

subjects.

The item B.6. Other was not used by the teacher.

 

 

 

 

CHAPTER V

SUMMARY AND RECOMMENDATIONS

Summary of Results

The purpose of this study was to devise a music therapy
assessment tool to be used with emotionally impaired,
learning disabled, and autistically impaired children. The
Music Therapy Profile of Children's Abilities (MTPCA) was
developed for this study. The MTPCA was developed as a
comprehensive music therapy assessment tool with both
initial assessment and evaluative purposes. This study
tested the MTPCA only for the purpose of assessment. The
MTPCA was evaluated for interscorer reliability and for

external source reliability.

Hypothesis #1. Will the MTPCA discriminate whether a
client is a potential candidate for music therapy
treatment?

This statement asks the assessor to make a judgement as
to whether an assessed client exhibits tonal and musical
awareness. The rationale is that if the client does, then
music therapy may be an effective treatment modality. The
MTPCA provides eight musical activities to assess whether a
client is a potential candidate for music therapy.

For the seven subjects participating in this study, all
three of the music therapists agreed that each of them
exhibited tonal and musical awareness in varying degrees.

68

 

 

 

 

 

69
Thus, the MTPCA was able to discriminate that music therapy
is a recommended treatment modality for each subject who

participated in this study.

Hypothesis #2. Will the results of the MTPCA provide the
music therapist with the current level of functioning of
the client in relation to musical tasks?

The music therapists reported that the MTPCA provides
sufficient activities to determine the current level of
functioning of the client in relation to music tasks. The
comprehensive music therapy assessment should evaluate the
client in the following areas: cognition, affect and
temperament, social and interpersonal skills, motor skills,
and musical skills.

The MTPCA provides music activities for each of these
areas. Cognition is tested in the activities "All the
Colors of the Rainbow", "Countdown", "Shake Something", and
"A Pocket Full of B's". Affect and temperament is tested

' and can be

specifically in the activity "Feelings'
evaluated further by observations of the client's behavior
in all of the activities. Social and interpersonal skills
are tested specifically in the activities "Be My Friend",
"Feelings", and "Play Your Sticks" and can be evaluated
further by observations of the client's behavior in all of
the activities. Motor Skills are tested in the activities

"Be My Friend", "All the Colors of the Rainbow", "Shake

Something", Music imitation skills, and "Play Your Sticks".

 

 

 

70
Musical Skills are tested specifically in the activities
"Be My Friend", Aural discrimination and performance tasks,
and "Play Your Sticks". One area not thoroughly tested by
the MTPCA is the client's music preferences for instruments
and musical styles.

The MTPCA Recording Form provides items for the
therapist to indicate the client's level of functioning,
either through checking specific tasks or using a rating
scale for the client's behavior, for the areas mentioned
above. The music therapists were able to complete all
items in the MTPCA for each subject except items: V. B.5.
Asks for help when needed and VII. B. Styles. The music
therapists indicated to the author that the following items
ware difficult to assess within the MTPCA's activities:

II. C.1. Expresses simple ideas (nonverbally), II. C.3.
Expresses wants/needs (nonverbally), II. C.4. Expresses
with feeling (nonverbally), and IV. A.1. Makes positive

comments about self.

Hypothesis #3. Will the results of the MTPCA demonstrate
reliability when given to emotionally impaired, learning
disabled, and autistically impaired children?

The Pearson product-moment correlation was computed for
each of the fifty-five scaled items of the MTPCA to
determine reliability. Reliability was analyzed three ways
for the MTPCA. First, interscorer reliability was analyzed

among the three music therapists' MTPCA Recording Forms for

 

 

 

-.$'

 

 

 

71
each subject. Second, external source reliability was
analyzed between the scorers and the teacher evaluations of
the learning disabled subjects. Third, external source
reliability was analyzed between the scorers and the
teacher evaluations of the emotionally impaired and
autistically impaired subjects.

Among the scorers, fifteen items had a correlation
coefficient of at least .60; five were significant at the
.05 level. Forty items had correlation coefficients below
.60. The following items showed reliablility, though not
necessarily statistically significant from zero, among the
interscorer correlations with the music therapists.

I. Academic Skills

A.1. Sits in assigned areas

A.2. Does not interrupt others

A.3. Attends to task
II. Communication Skills

C.1. Expresses simple ideas (verbally)

C.3. Expresses wants/needs (verbally)

D.2. Uses verbs/action words

D.4. Speaks in sentences (simple sentences)
III. Motor Skills

A.1. Beats a steady beat (with an instrument)
IV. Affective Characteristics

A.1. Makes positive comments about self

A.3. Perseveres at difficult tasks

 

 

 

72
B.4. Identifies situations/examples of different
emotions
V. Social Skills
B.1. Responds when name is called
B.2. Responds to defined limits
B.3. Accepts help from others

B.6. Participates appropriately

Among the external source reliability between the
scorers and the teacher of the learning disabled subjects,
thirteen items had a correlation coefficient of at least
.60; eleven were significant at the .05 level. Twenty
items had correlation coefficients below .60. The
correlation coefficients for twenty—tw0 items resulted in 0
due to either the music therapists or the teacher using the
same rating for each subject. The following items showed
external source reliability.

II. Communication Skills

B.2. Makes eye contact during conversation

C.2. Expresses feelings (verbally)

C.4. Expresses with feeling (verbally)

D.1. Verbalizes names of objects

D.2. Uses verbs/action words

D.3. Speaks in 1—2 word phrases

D.4. Speaks in sentences (simple sentences)
IV. Affective Characteristics

A.5. Maintains eye contact

73
B.2. Expresses appropriate emotions (nonverbally)
B.4. Identifies situations/examples of different
emotions
V. Social Skills
A.1. Communicates in appropriate manner
A.2. Initiates interaction

B.3. Accepts help from others

Among the external source reliability between the
scorers and the teacher evaluations of the emotionally
impaired and autistically impaired subjects, fourteen items
had a correlation coefficient of at least .60; twelve were
significant at the .05 level. Twenty-nine items had a
correlation coefficient below .60. The correlation
coefficient for twelve items was considered to be 0 since
either the music therapists or the teacher used the same
rating for each subject. The following items showed
external source reliability.

II. Communication Skills

B.3. Responds to message/instructions (verbally)
C.2. Expresses feelings (nonverbally)

D.4. Speaks in sentences (simple sentences)

D.4. Speaks in sentences (complex sentences)

III. Motor Skills

A.1. Beats a steady beat (with an instrument)

A.3. Completes motor sequences

74
IV. Affective Characteristics
A.1. Makes positive comments about self
A.3. Perseveres at difficult tasks
A.5. Maintains eye contact
B.1. Actively responds with physical &/or facial
affect

B.2. Expresses appropriate emotions (verbally)

<

Social Skills
A.4. Interacts appropriately (verbally)
B.5. Asks for help when needed

B.6. Participates appropriately

One item, II. D.4. Speaks in sentences (simple
sentences), had a correlation coefficient of at least .60
with all three reliabilities.

The following three items had a correlation coefficient
of at least .60 with both interscorer reliability and
external source reliability with the learning disabled
subjects.

II. D.2. Uses verbs/action words

IV. B.4. Identifies situation/examples of different
emotions

V. B.3. Accepts help from others.

The following three items had a correlation coefficient
of at least .60 with both the interscorer reliability and
the external source reliability with the emotionally

impaired and the autistically impaired subjects.

-._-

 

75
III. A.1. Beats a steady beat (with an instrument)
IV. A.1. Makes positive comments about self
IV. A.3. Perseveres at difficult tasks
The reliability coefficients were considered to be 0
for several of the items because either the music
therapists or the teachers used the same rating for each
subject; thus there was no variance of scoring behavior to
be correlated. Similar ratings on the MTPCA items may have
occurred due to a small sample (n = 7). Behaviors are less
likely to be significantly varied among a smaller number of
subjects versus a larger number of subjects. All of the
subjects in this study seem to have exhibited similar
behavior for selected MTPCA items.
The MTPCA also contains non-scaled items. These items
are in the sections: I. B. Basic Concepts, II. A.
Pre-Verbal Expression, II. E. Articulation, VI. Auditory
Perception Skills, and VII. Musical Preferences. One other
non-scaled item is IV. A.4. Gives personal identification.
Comparisons of the music therapists responses showed
face validity for the following MTPCA non-scaled items.
I. B. Basic Concepts
1. Color identification
2. Shapes identification
3. Counting, numbers concept
4. Alphabet, letters concept

5. Identifies body parts

76
II. A. Pre-Verbal Expression
1. Makes vocal sounds
2. Imitates syllables
3. Vocalizes sequence of sounds
II. E. Articulation
l. Vowels
2. Consonants
3. Letter Combinations
IV. A.4. Gives personal identification
VI. Auditory Perception Skills
A.1. Timbre
A.2. Dynamics
A.3.IPitch
A.4. Rhythm
B.3. Simple rhythms
B.4. Dynamic levels
B.5. Different tempos
VII. Musical Preferences

A. Instruments

Comparisons between the scorers and the teacher
evaluations of the learning disabled subjects showed
validity for the following non—scaled items.

I. B. Academic Skills
1. Color identification
4. Alphabet, letters concept

5. Identifies body parts

face

77
II. A. Pre-Verbal Expression
1. Makes vocal sounds
2. Imitates syllables
3. Vocalizes sequence of sounds
VI. Auditory Perception Skills
A.1. Timbre
A.2. Dynamics
A.3. Pitch
A.4. Rhythm
A.5. Tempo
B.3. Simple rhythms
B.4. Dynamic levels

B.5. Different tempos

Comparisons between the scorers and the teacher
evaluations of the emotionally impaired and autistically
impaired subjects showed face validity for the following
non—scaled items.

I. B. Basic Concepts
1. Color identification
4. Alphabet, letters concept
5. Identifies body parts
II. E. Articulation
l. Vowels
2. Consonants
3. Letter combinations

IV. A.4. Gives personal identification

 

 

78

VI. Auditory Perception Skills

A.5. Tempo
B.3. Simple rhythms
B.4. Dynamic levels

The definitions for all of the tasks were not defined
Clearly enough in the MTPCA Therapist's Manual. This
resulted in the music therapists interpreting some of the
test items in different manners, and therefore contributing
to a low interscorer reliability score for these items.

The items of the Teacher's Questionnaires may have been
interpreted differently by each teacher, as the teachers
who participated in this study have unrelated methods of
teaching. This would contribute to the variance with the
external source reliability for the MTPCA test items.

It is difficult to assess whether the MTPCA
demonstrates reliability among the populations of
emotionally impaired, learning disabled, and autistically
impaired children with the sample size used in this study.
A larger sample of each population is needed to determine
this reliability. Based on the methods used in this study,
it must be concluded that a reliable assessment instrument

for these children has not yet been successfully developed.

Recommendations
This study of music therapy assessment has accomplished

several goals.

 

 

 

79
1. This is the first comprehensive music therapy screening
assessment for autistically impaired, emotionally impaired,
and learning disabled children in the field of music
therapy.
2. This study lays the groundwork for future music therapy
assessments to be developed and for this music therapy
assessment to be revised and tested. The assessment tested
in this study may serve to generate other assessment
research in the field of music therapy. The literature
review served to synthesize studies in clinical assessment
for the use of music therapists. The theoretical
constructs of this study served to integrate and synthesize
other research in assessment.
3. Assessment procedures used in this study may be useful
in the training of music therapy students and clinicians.
The written material of this study is applicable to various
treatment settings in music therapy.

Practical applicability of this study remains
speculative without additional supporting research.
Replication of this study using a much larger sample of the
populations and using a revised MTPCA Therapist's Manual is
recommended.

As a result of this study, the following changes are
recommended in the MTPCA Therapist's Manual. The
definitions for the some of the MTPCA items were reported
to be vague or unclear by the music therapists

participating in this study. It is suggested that an

 

 

 

 

 

 

 

 

8O
example of acceptable behavior be included in all of the
MTPCA item definitions.

The MTPCA takes 45 — 60 minutes to administer. This
may be too long for the child to remain attentive. If this
is the situation, the MTPCA may be administered in two
25 - 30 minute sessions. This will allow the assessor to
evaluate the child on two separate occasions.

The music therapists participating in this study
commented that the MTPCA Recording Form is cumbersome to
learn. Once each therapist had implemented the MTPCA and
used the form four or five times, each therapist agreed the
MTPCA was not unreasonable in length. The MTPCA includes
many tasks, such as the Auditory Perception Skills tasks,
with which the administering therapist must become familiar
before using the assessment tool.

It is recommended that studies be conducted which
extend this research. Such studies could (a) assess
pretest and posttest applications of the MTPCA, (b) assess
reliability with larger samples of the emotionally
impaired, learning disabled, and autistically impaired
populations, and (c) evaluate the MTPCA in clinical
settings.

The issues addressed in this study may be useful for
training music therapy clinicians, educators, and students
in the area of music therapy assessment. It is hoped that
this study will serve to enhance the understanding and

effectiveness of assessment in the field of music therapy.

 

 

 

 

 

 

APPENDICES

 

 

 

APPENDIX A
MENTAL DISORDERS 0F

INFANCY, CHILDHOOD, OR ADOLESCENCE

 

 

 

 

 

81

APPENDIX A

MENTAL DISORDERS OF

INFANCY, CHILDHOOD, OR ADOLESCENCE

Childhood disorders usually are evident in infancy,
childhood, or adolescence. There is no arbitrary age limit
to define childhood or adolescence.

According to the DSM-III-R, there is a group of
diagnostic categories that are often appropriate for
children or adolescents. They include: Organic Mental
Disorders, Psychoactive Substance Use Disorders,
Schizophrenia, Mood Disorders, Somatoform Disorders, Sexual
Disorders, Adjustment Disorder. The diagnoses of Mood
Disorders and Schizophrenia are not differentiated between
children and adults, as the essential features of these
disorders do not differ between age groups.

Many children brought to clinical attention have
problems that do not warrant a diagnosis of a mental
disorder. Such conditions are noted as: Parent—Child
Problem, Childhood or Adolescent Antisocial Behavior, or
Other Specified Family Circumstances.

Children who are psychologically, physically, or
sexually abused may react in a manner that constitutes a
mental disorder. The following are appropriate categories
for these circumstances: Reactive Attachment Disorder of

Infancy or Early Childhood, Post-traumatic Stress Disorder,

 

 

 

82
and Adjustment Disorder. Parent-Child Problem is used when
a reaction is not severe enough to be considered a mental

disorder.

Developmental Disorders

 

Developmental Disorders are characterized with a
predominant disturbance in the acquisition of cognitive,
language, motor, or social skills. The course of this
subclass of disorders is usually chronic through adulthood.

A general delay of skills is classified as Mental
Retardation. The general characteristics of this disorder
are: "(1) significantly subaverage general intellectual
functioning (an IQ of 70 or below on an individually
administered IQ test), accompanied by (2) significant
deficits or impairments in adaptive functioning (in areas
such as communication, daily living skills, and social
skills), with (3) onset before the age of 18" (p. 28).
There are four degrees of severity of mental retardation,
reflecting the degree of intellectual impairment, noted
with specified IQ ranges: Mild (IQ = 50—55 to
approxiametely 70), Moderate (IQ = 35-40 to 50—55), Severe
(IQ = 20—25 to 35—40), and Profound (IQ = below 20—25).

Pervasive Developmental Disorders are classified
with multiple areas in which there are qualitative
distortions of normal development "of reciprocal social
interaction, in the development of verbal and nonverbal

communication skills, and in imaginative activity" (p. 33).

 

 

-,_’

 

 

83
Often there is a restricted repetoire of activities and
interests, which are frequently stereotyped and
repetitive. This disorder usually appears before the age
of three, although it may appear as late as the age of five
or six.

Autistic Disorder, also known as Infantile Autism
and Kanner's Syndrome, is the only subgroup for pervasive
developmental disorders. Autistic Disorder is merely the
most severe form of a pervasive developmental disorder.

Another form of developmental disorders, Specific
Developmental Disorders, bears features as a delay or
failure to progress in a specific area of skill
acquisition. This subclass is for "disorders that are
characterized by inadequate development of specific
academic, language, speech, and motor skills and that are
not due to demonstrable physical or neurological disorders,
a pervasive developmental disorder, mental retardation, or
deficient educational opportunities" (p. 40). The age of
onset for this disorder is usually before eight. The
detection and treatment of many of the specific
developmental disorders generally occurs within schools.

The following are the categories of Specific
Developmental Disorders:

Academic Skills Disorders include the diagnoses of
Developmental Arithmetic Disorder, Developmental Expressive
Writing Disorder, and Developmental Reading Disorder.

Language and Speech Disorders encompass the following

84
diagnoses: Developmental Articulation Disorder,
Developmental Expressive Language Disorder, and
Developmental Receptive Language Disorder. Motor Skills
Disorders are classified with the diagnosis of
Developmental Coordination Disorder. The primary
disturbance in each diagnosis significantly interferes with
academic achievement or activities of daily living

requiring the specific skill.

Disruptive Behavior Disorders

 

Behavior that is socially disruptive and more often
distressing to others than to the people with the
disruptive behavior is grouped under the subclass of
Disruptive Behavior Disorders. The degree of impaiment for
all Disruptive Behavior Disorders varies among people with
the disorder from mild to moderate to severe.

Attention-deficit Hyperactivity Disorder is
characterized with "developmentally inappropriate degrees
of inattention, impulsiveness, and hyperactivity" (p. 50).
This disorder frequently occurs before the age of four, but
it may not be detected until the child enters school.

Conduct Disorders are classified as either group
type, solitary type, or undifferentiated type. ”The
essential feature of this disorder is a persistent pattern
of conduct in which the basic rights of others and major
age-appropriate societal norms or rules are violated" (p.

53). Typically, this behavior pattern is present at home,

 

 

 

 

85
at school, with peers, and in the community. Physical
aggression, covert stealing, substance use, low
self-esteem, and below level academic achievement is common
behavior among people with a conduct disorder. This
disorder occurs prior to the onset of puberty in most
cases.

A behavior pattern of hostile, negativistic, and
defiant behavior without the more severe behavioral
violations of conduct disorders is the essential feature of
Oppositional Defiant Behavior. The disorder is present
at home, but may not be present at school or with peers.
Argumentative and defiant behavior with adults is common
among children with Oppositional Defiant Behavior. The age
of onset for this disorder is typically before eight, but

no later than early adolescence.

Anxiety Disorders of Childhood or Adolescence

 

Separation Anxiety Disorder is characterized by
excessive anxiety, with a duration for a minimum of two
weeks, concerning separation from those to whom a child is
attached. Onset of this disorder is before the age of
eighteen. A child with Separation Anxiety Disorder
experiences anxiety, often to the point of panic, when they
are separated independently from familiar areas. During
the time of separation, the child is often preoccupied with

morbid fears of accident or injury to those they are

separated from.

 

 

 

 

 

 

 

86

Avoidant Disorder of Childhood or Adolescence is
identified with "an excessive shrinking from contact with
unfamiliar people that is of sufficient severity to
interfere with social functioning in peer relationships"
(p. 61). Yet, children with this disorder possess a clear
desire for social involvement with familiar people.

Overanxious Disorder is characterized by "excessive
or unrealistic anxiety or worry" (p. 63). A child with
this disorder tends to be extremely self—conscious and

often appears to have physical symptoms of anxiety.

Mood Disorders

 

A Major Depressive Episode is characterized with
"either depressed mood (or possibly, in children or
adolescents, an irritable mood) or loss of interest or
pleasure in all, or almost all, activities...for a period
of at least two weeks" (p. 218). The age of onset for this
disorder is typically in the late 20's, yet it may occur at
any age, including infancy.

The essential feature of Dysthymia (or Depressive
Neurosis) is "a chronic disturbance of mood involving
depressed mood (or possibly an irritable mood in children
or adolescents), for most of the day more days than not,
for at least two years (one year for children and
adolescents)" (p. 230). This disorder typically begins in

childhood, adolescence or early adulthood.

 

 

 

 

 

87

Schizophrenia

 

Schizophrenia is characterized by the occurance of
typical "psychotic symptoms during the active phase of the
illness and...in children or adolescents, failure to
achieve the expected level of social development, and a
duration of at least six months" (p. 187). At some phase
of the illness, Schizophrenia involves delusions,
hallucinations, or disturbances in form of thought and in
affect. There are five types of Schizophrenia: Catatonic,
Disorganized, Paranoid, Undifferentiated, and Residual.
Undifferentiated SchiZOphrenia is the mOSt common type of
Schizophrenia among children. Onset for this disorder is
usually during adolescence or early adulthood, although

this disorder may occur during childhood.

Eating Disorders

 

The features of Anorexia Nervosa are "refusal to
maintain body weight over a minimal normal weight for age
and height; intense fear of gaining weight or becoming fat,
even though underweight; a distorted body image; and
amenorrhea (in females)" (p. 65). Onset for this disorder
is usually early to late adolescence, although it ranges
from prepuberty to the early 30's.

Bulimia Nervosa entails "recurrent episodes of
binge eating, a feeling of lack of control over eating
behavior during the eating binges,...(self-induced

prevention of) weight gain, and persistent overconcern with

 

 

 

 

 

 

 

 

88
body shape and weight" (p. 67). This disorder generally
begins in adolescence or early adulthood.

Pica is the "persistent eating of a nonnutritive
substance" (p. 69). There is no aversion to food with this
disorder. Age of onset is usually 12 to 24 months.

Rumination Disorder of Infancy is characterized by
the "repeated regurgitation of food, with weight loss or
failure to gain the expected weight, developing after a
period of normal functioning" (p. 70). This disorder

usually appears between the age of 3 and 12 months.

Gender Identity Disorders

 

The essential features of Gender Identity Disorder
of Childhood are "persistent and intense distress in a
child about his or her assigned sex and the desire to be,
or insistence that he or she is, of the other sex" (p. 71).

The age of onset for this disorder is before four.

 

Gender Identity Disorder of Adolescence or
Adulthood, Nontranssexual Type (GIDAANT) is similiar to
the disorder above. Age of onset for GIDAANT is after the
person has reached puberty. Also, a person with GIDAANT is
persistent, either in fantasy or in actuality, with the
behavior of cross—dressing in the role of the other sex.

Transsexualism is characterized as "persistent
discomfort and (a) sense of inappropriateness about one's
assigned sex in a person who has reached puberty" (p. 75).

Persons with this disorder typically live their lives as if

 

 

 

 

 

 

89
they were members of the opposite sex. Often, this

disorder leads to surgical sex-reassignment treatment.

Tic Disorders

 

A tic is "an involuntary, sudden, rapid, recurrent,
nonrhythmic, stereotyped, motor movement or vocalization"
(p. 78). All forms of tics are often triggered by stress
and usually diminish during sleep. Often during absorbing
activities, tics may become attenuated.

Tourette's Disorder entails "multiple motor and one
or more vocal tics" (p. 79). The tics occur many times a
day, nearly every day for a period of over one year. The
location, frequency, and severity of the tics may change
over time. This disorder usually appears by the age of 7,
although it is not uncommon to occur as late as the age of
21 and as early as one year of age.

A person with either motor or vocal tics, but not
both, has a Chronic Motor or Vocal Tic Disorder. The age
of onset is before 21.

The essential features of Transient Tic Disorder is
"single or multiple motor and/or vocal tics that occur many
times a day, nearly every day for at least two weeks, but
for no longer than twelve consecutive months" (p. 81).

This disorder usually is apparent during childhood or early

adolescence.

 

 

 

 

 

 

 

 

 

 

9O

Elimination Disorders

 

The essential feature of Functional Encopresis is
"repeated involuntary passage of feces into places not
apprOpriate for that purpose. ... By definition, primary
functional encopresis begins by the age four. Secondary
encepresis usually begins between the ages of four and
eight" (PP. 82-82).

Functional Enuresis is "repeated involuntary or
intentional voiding of urine during the day or night into
bed or clothes, after an age at which continence is
expected" (p. 84). The age of onset for primary functional
enuresis is before the age of five. Secondary functional
enuresis generally occurs between the ages of five and

eight.

Speech Disorders Not Elsewhere Classified

Cluttering is "a disturbance of fluency involving
an abnormally rapid rate and erratic rhythm of Speech that
impedes intelligibility" (p. 86). Generally, the person
with cluttering is unaware of any communication
impairment. Usually, the age of onset for this disorder is
before the age of seven.

Stuttering is "a marked impairment in speech
fluency characterized by frequent repetitions or
prolongations of sounds or syllables" (p. 86). Stuttering
is worsened with stress and is often absent during "oral

reading, singing, or talking to inanimate objects or to

 

 

 

 

 

.‘_-

 

 

 

91
pets" (p. 86). The age of onset for this disorder is

before the age of ten in 98% of all cases.

Other Disorders of Infancy, Childhood, or Adolescence

 

The essential feature of Elective Mutism is
"persistent refusal to talk in one or more major social
situations, including school, despite ability to comprehend
spoken language and to speak" (p. 88). Communication is
usually through nonverbal means or in some instances,
through monosyllabic utterances. Generally, the age of
onset is before five.

Identity Disorder is characterized with "severe
subjective distress regarding inability to integrate
aspects of the self into a relatively coherent and
acceptable sense of self. There is uncertainty about a
variety of issues relating to identity, including long-term
goals, career choice, friendship patterns, sexual
orientation and behavior, religious identification, moral

I

value systems, and group loyalties' (p. 89). The age of
onset is usually late adolescence, but may extend into
early adulthood and even middle age.

Reactive Attachment Disorder of Infancy or Early
Childhood involves "markedly disturbed social relatedness

in most contexts that begins before the age of five and is

not due to Mental Retardation or a Pervasive Developmental

Disorder" (p. 91).

 

 

 

 

 

92
The essential features of Stereotypy/Habit Disorder
are "intentional and repititve behaviors that are
nonfunctional, i.e., serve no constructive, socially
acceptable purpose" (p. 93). The behaviors of this
disorder may be seen in infants and young children and may

intensify during adolescence.

 

 

APPENDIX B

INFORMED CONSENT AUTHORIZATION FORM

 

 

 

93

APPENDIX B

INFORMED CONSENT AUTHORIZATION FORM

Informed Consent Authorization
Dear Parent/Guardian:

In partial fulfillment for the Master's of Music degree in
Music Therapy, a master's thesis project must be
completed. The purpose of this study is to develop a
reliable music therapy assessment tool to be used with
children. The Music Therapy Profile of Children's
Abilities (MTPCA) is a comprehensive music therapy intake
assessment to determine a) whether or not an individual
would potentially benefit from music therapy treatment and
b) the current level of functioning through responses to
music activities. Areas of functioning include the
following: cognitive, affect and temperment, social and
interpersonal skills, motor skills, and musical skills and
interests.

Your child's involvement in this study will include
participating in the MTPCA's music activities, such as
singing and playing rhythm instruments. This will take
approxiametly 30 minutes and will be done in a classroom at
Post Oak Elementary School, during school hours. This
assessment will be videotaped so that the music therapist
implementing the MTPCA and two observing music therapists,
who may or may not be at the assessment session, can
complete the MTPCA recording form. All music therapists in
this study are Registered Music Therapists-Board Certified
(RMT-BC). It is necessary to have a minimum of three music
therapists completing the recording form in order to
evaluate the reliability of the MTPCA. The videotape of
your child will be erased when the study is completed.

Participation in this study is completely voluntary and
your child may discontinue his/her involvement in this

study at any time.

As indicated in the release which you are asked to sign,
you have the right to request information regarding your
child's individual assessment results. All oral and
written information regarding your child will be kept
confidential and all results from this study will remain

anonymous .

If you are willing to allow your child to participate in
this study, please read the following statement and sign
your name where indicated. Also, please review the
procedures of this study with your child and have him/her
sign the form where indicated. If you have any questions
about this assessment, please contact me at either

home: 332-4421 or the MSU Music Therapy Clinic: 353-6426.

Thank you for your assistance,

C W, emt- 8c

Cher, Swanson, RMT-BC

 

 

 

 

 

94

(Please return this page to school)

Permission to Assess

1’ , parent/guardian

 

of , give my
permission for the MTPCA to be administered to my child. I
have read the information describing this study and
understand my child's involvement and rights as outlined.

I understand that participation is completely voluntary and
that my child may terminate participation at any time. I
am aware that the assessment will be videotaped and the
tape will be erased when the study is completed. I am
aware that all of my child's responses will remain
confidential and that I have the right to request
information regarding my child's individual assessment
results.

 

signature

 

date

For your child:
I have been informed about this study and the MTPCA. I

agree to participate in this study. I know that I will be
videotaped and that I have the right to stop the
asssessment at any time.

 

child's signature

 

date

APPENDIX C

MTPCA THERAPIST'S MANUAL

.9“

 

 

95

APPENDIX C

MTPCA THERAPIST‘S MANUAL

MUSIC THERAPY
PROFILE OF CHILDREN'S ABILITIES

(MTPCA)

A COMPREHENSIVE ASSESSMENT TOOL

THERAPIST'S MANUAL

By:
Cheryl A. Swanson, RMT—BC
Spring 1988
Master's Thesis Project

Michigan State University

 

 

96

Table of Contents

Music Therapy with Children

The Process of Music Therapy

The Assessment Process

Administering the MTPCA

MTPCA Music Activities

Recording the MTPCA

Using the MTPCA Recording Form

References

14

43

45

67

 

 

 

97
MUSIC THERAPY PROFILE OF CHILDREN'S ABILITIES

THERAPIST'S MANUAL

Music Therapy with Children

 

Music therapy can have a far—reaching effect upon the
development of children who bear the handicaps of emotional
impairment, learning impairment, mental impairment,
orthopedic or physical impairment, sensory impairment, and
other health impairment. Music is a universal experience
in that everyone can share in its fundamental elements of
melody, harmony, and rhythm.

Children who are handicapped may be isolated from the
course and content of normal human life. Music activities
can be highly normalizing for the handicapped child. "It
can reduce the social perception of deviance by maximizing
lthe normal accomplishments of a handicapped person" (Alley,
1979, p. 113). Often, the handicapped child has
difficulties assimilating life's experiences, becoming
confused in their interpretation. For these children,
music can be a cogent, activating experience. (Nordoff &
Robbins, 1971)

Music therapy is a behavioral science and may also
include aesthetic experience in which music is used to
bring about positive changes in human behavior. Michel
(1985) ellaborates further defining music therapy as a
"behavioral science not-only because music is human
behavior but also because the use of music in therapy

I

 

98

 

depends upon a mastery of behavioral skills in addition to
those of performance and teaching, that is, upon the
knowledge and skills necessary to relate the human activity
of music to therapy goals" (p. 25). These changes in
behaviors may include educational as well as emotional,
social, and rehabilitative changes.

Music has powerful influences upon behavior. The
therapist often uses music as a motivator by encouraging
clients to pursue goals that may appear too difficult or
perhaps boring in another setting. Music offers a
predictable and orderly structure and allows for
gratification from artistic expression to be easily gained
by the performer or client. While at the same time, the

client may develop an increase in self-confidence from the

 

successful experience and an increase in appropriate
socialization skills.

Research has shown that music is an effective therapy
modality for treating autistically impaired and emotionally
impaired children (Diephouse, 1967; Hollander & Juhrs,

1974; Mahlberg, 1973; Steele, Vaughan, & Dolan, 1976;
Stevens & Clark, 1969; Thaut, 1984; Werbner, 1966).

Clinical reports show that music is being used as a
treatment modality with learning disabled children. Music
can provide opportunities for needed creative expression,
appropriate socialization, or success—oriented activities.
Improvement of receptive and expressive communication
skills through singing; development of imitation skills

2

99
through rhythmic activities, movement, and singing; and
increased on-task behavior are examples of common
successful goals for the music therapist working with
autistically impaired, emotionally impaired, and learning
disabled children. Naturally, musical skills are also
enhanced and developed through participation in music
therapy sessions. (Paul, 1984)

To achieve any of these goals, the music therapist
must be at ease with the methods of the musical activities,
so that he or she can focus their attention on the behavior
of the child. That is, the music therapist must possess a
solid base of musicianship to draw from at will in order to
stimulate, interest, and involve the child. The therapist,
however, cannot allow his or her love for music to overbear
the fact that in therapy, music is used as a means to an
end (Kessler, 1967). The therapist-child relationship is
probably the common denominator for all therapies and is
the main factor in bringing about change. It follows that
the music therapist must have a genuine interest in the

child and must be able to convey this to the child.

 

 

100

The Process of Music Therapy

 

Several music therapists haVe described the actual
process of music therapy. According to Michel, change is
an implied meaning of therapy. Change is defined as "the
bringing about of changes from undesirable, unhealthful,
uncomfortable conditions to more pleasant ones" (p. 6). In
this sense, therapy can be Viewed as a process of
learning. Modern concepts of therapy often relate, and
sometimes equate, therapy and learning.

Another assumption of therapy is that it is, in its
most ideal form, individualized. In a hospital or school
setting, where individual music therapy is not cost
effective, individualized therapy can be viewed as a means
of treating the individual in a group setting. That is,
while attending to group goals and objectives, the
therapist can tailor the session to challenge the
individuals involved. Thus, music therapy can be defined
as an individualized procedure.

Therapy is based on objectives (or goals) that have
been established for the group and/or the individual.
Krathwohl, Bloom, and Masia have divided educational
objectives into three domains: cognitive, affective, and
psychomotor (Mahan & Mahan, 1981). Therapeutic objectives
parallel these domains. Effective learning in both
education and therapy involves change in all three

components.

 

 

 

101

Stanley & Hopkins (1972) define changes in the three
domains in the following manner. Cognitive change includes
objectives that focus with the "recall or recognition of
learned material and the development of intellectual
abilities and skills." Affective changes encompass
objectives "that emphasize interests, attitudes, and
values, and the development of appreciations and adequate
adjustments." Psychomotor changes are concerned with
objectives pertaining to "physical, motor, or manipulative
skills" (pp. 173—174).

People seem to demonstrate change in three explicit
areas: cognitive, affective, and psychomotor. It follows,

then, that a therapeutic assessment should encompass those

 

three areas. An assessment of this type, administered

prior to treatment, would provide a baseline of the
individual's current level of functioning from which to
measure therapeutic change. It would also provide
information necessary to develop therapeutic objectives for

the treatment planning of the individual.

 

102

The Assessment Process
initial phase of music therapy treatment begins
the

The

with the assessment. Upon receiving a client referral,
music therapist should schedule and implement an

The purpose of this assessment is for

assessment.
screening and to aid with program planning. Most

facilities have a time period that this should be completed

in, such as within three working days after the referral is

written.
The assessment should be completed by the music
This enables

therapist who will be working with the child.

the therapist to meet the client and to begin building

rapport with him/her from the onset of the therapeutic
experience. Before implementing an assessment, the
therapist must be familiar with the process of assessing.

Sattler (1988) describes the necessary attributes of a

therapist to be an effective assessor.

One must know a great deal about tests and about
people; be capable of using creative skill,
scientific rigor, and caution in developing
hypotheses; be flexible enough to modify or reject
hypotheses in the light of new data; know the
situations about which inferences must be made; and

be aware of one's own characteristics as an
interpreter of test performance and human behavior

(p. 532).
Assessment procedures should focus on a broad
Psychological factors

spectrum of the child's abilities.
(including cognitive and affective characteristics), social

and interpersonal factors, and musical factors should be

included in the comprehensive music therapy assessment.
6

 

 

 

 

103
The more sources (within limits) that are used to sample
the child's behavior, the better position the therapist
will be in to make firm generalizations about the child and
to develop intervention strategies.

A comprehensive individualized assessment,
culminating in the development of recommendations, should
include consideration of the following areas as they
concern the child:

—cognition: reading, arithmetic, written and oral

 

language, and color and shape recognition;

-affect and temperament: attention span, activity
level, emotions, interaction, and self-concept;

-social and interpersonal skills: communication
skills, feelings identification, and interaCtion;

-motor skills: fine and gross motor skills;

-musical skills and interests: aural discrimination
and performance abilities, and preferences.

This type of an assessment procedure will assist the

therapist in determining whether the child is suitable for

 

music therapy treatment and in determining the child's
current level of functioning.

The assessment is a complex activity, as it requires
gathering, integrating, organizing, and interpreting
various data. In a music therapy assessment, the therapist
is working with the following types of data:

a) developmental data--including information about academic

skills, perceptual abilities, social skills, adaptive

   

 

 

 

104
behavior, and emotional and personality characteristics;
b) behavioral data—-including observations of behavior
during testing and in the facility (i.e., school or
hospital); and c) medical data—-including the given
diagnosis from a physician, psychiatrist, psychologist, or
other agencies, and other health related issues.

Sattler outlines the usual steps in the process of
assessment as the following:

1. Review all referral information. Consult with
referral sources, such as psychiatrist, teacher, or parent,
to clarify any vague information.

2. Obtain information relevant to the child's
medical, social, psychological, educational, and physical
development. This information may be obtained from
teachers, parents, medical reports, or other agencies.

3. Assess the behavior of relevant adults, where
possible. This may clarify overt behaviors by the child.

4. Observe the child in various settings, where
possible.

5. Administer an appropriate assessment, based on the
child's age, physical capabilities, and language
proficiency.

6. Interpret the data.

7. Formulate hypotheses and recommendations.

8. Develop intervention strategies.

9. Write a report, using the assessment recording

form, and include recommendations.

8

 

 

105

10. Meet with those involved with the treatment of the
child to discuss results and recommendations.

11. Follow up on recommendations and administer a
progress asseessment when time permits in the treatment
process. (see Figure 1 for an outline of the assessment
process)

A music therapy assessment requires the therapist to
discriminate whether the child performs at a level that can
be interpreted as demonstrating if the child is suitable
for music therapy treatment. Also, the therapist is asked
to determine the current level of functioning through
musical tasks for use in program planning when the child is
suitable for music therapy treatment.

Interpreting the assessment data can be
conceptualized as a chain with three main links. First are
the actual responses of the child before, during, and after
the assessment. Although the actual assessment activities
only involve behavioral responses during the activities,
the therapist should be sensitive to other behaviors
presented by the child. Second, theories through which the
responses can be integrated and conceptualized need to be
utilized when synthesizing the information from the
assessment. Third, knowledge of what to do with the

derived information should be recalled before recording

data on the assessment form, which is inserted into the

child's records.

 

106

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mw<Hm BszH

 

10

 

 

107

It is necessary to caution therapists implementing
and interpreting an assessment. Several factors may
influence the responses from the child. For example, the
child may be too anxious or nervous to perform the
assessment at his/her optimum level. Anxiety may be in the
form of separation anxiety, possibly caused by being away
from home during the initial phase of in—patient treatment,
or the child may be experiencing test anxiety during the
assessment. Other factors include the child's personality,
situational test demands, other tests taken by the child,
and medical influences, such as medication currently being
taken.

Failure to successfully respond to various tasks may
occur for a variety of reasons. Perhaps the child has
sensory impairments, motor impairments, or neurological
impairments. Careful analysis of a child's entire
performance is needed to arrive at a likely explanation of
any failures. Also, consulting with other professionals
involved with treating the child and seeking information
from the child's records prove to be beneficial at this
time in the assessment process. As a rule, the therapist
should never report a failure without providing a possible
explanation.

A child's performance in a one—time assessment may
not reflect how the child would perform if he/she were more
comfortable or stimulated. This type of assessment gives
information about how the child performs at a specific

11

 

 

 

108
moment under specific conditions. The overall performance
may not reveal the underlying dynamic attributes that are
developing in the child. The therapist must look for signs
of insight or creativity masked or not directly assessed by
the objective activities.

The child's performance must be seen as reflecting
not only the level of ability, but also the level of
motivation. Unfortunately, there is no way to single out
these variables. Since motivation greatly varies among
children, a pure ability interpretation of the performance
responses is preferred. However, the therapist can add
subjective interpretations regarding motivational factors
in the given area on the assessment recording form.

Formulating hypotheses from the assessment data
starts with a review and analysis of all data sources,
including formal (activities) and informal (observation)
assessment results, clinical history, and other available
information in the child's records. On the basis of this
review, hypotheses can be formulated. This information is
then transferred to the assessment recording form. The
therapist then uses the form to aid in determining
treatment plans and inserts it into the child's permanent
records.

Assessment and treatment are inextricably
intertwined. Assessment involves a careful interpretation
of the child's strengths and weaknesses, a description of
the child's temperament and personality, and the

12

 

 

 

109

formulation of a description of the current functioning
level of the child, and the development of recommendations.

Effective delivery of treatment requires close
monitoring of recommendations and interventions. Both
short- and long-term follow-up evaluations are important
parts of effective treatment beginning with the
assessment. An assessment can be used during the duration
of music therapy treatment as an initial assessment tool
and an evaluation tool for determining a current level of
functioning and for comparing current data with the past
assessment results. This will enable the therapist to
monitor the progress of the client during music therapy

treatment .

13

 

 

110

Administering the MTPCA

 

The MTPCA is an individually administered
assessment. There are no time limits for any parts of the
MTPCA. Administration takes approxiametly 45 minutes. The
MTPCA is administered in one uninterrupted session.

Before administering the MTPCA, the therapist should
be thoroughly familiar with the music activities in the
MTPCA and with the recording form. The therapist should
not feel compelled to have the music activities committed
to memory. It is permissable for the therapist to have a
copy of the music in the assessment session. Also, the
therapist should take the instructions for the auditory
perception (section VI) in the assessment session. This is
necessary to insure accuracy in administering the
prescribed format for this section. The therapist should
mark the child's responses directly on the recording form
during the administration of the auditory perception
portion of the MTPCA. The remainder of the recording form
should be completed after the assessment session. The
music activites may be performed with the therapist's
choice of accompanying instrument, so as to allow for
quality music experiences with the child.

The room should be set up so that there is sufficient
space for the child to perform the movement required in the
It is the therapist's option whether to

music activities.

sit in chairs at a table or to sit in the floor for each

activity.

14

111

It is most important to establish a friendly, relaxed
atmosphere for the MTPCA. It is important to encourage
children to have fun and to have a positive attitude during
testing process, as children are more likely to do their
best work in this setting.

Upon entering the room to administer the MTPCA, allow
the child to explore the room and instruments. This will
help to reduce the distractions that the instruments will
cause in the room. After the child has had sufficient time
to explore, begin the music activities. Throughout the
music activities, continual encouragement should be given
to the child to promote optimal performance and
participation in the MTPCA. All instructions should be
repeated if necessary, allowing the child ample opportunity
to respond to requests. Also, verbal and physical prompts
are permissable if the child cannot perform a task after
the instructions are given or complete a task once it is

started.

112

MTPCA Music Activities:

 

The tasks for the Auditory Perception Skills (part
VI) are designed specifically for the MTPCA. All other
music activities in the MTPCA are from Hap Palmer

Favorites: Songs for Learning Through Music and Movement

 

(1981) and are used by permission of Hap Palmer.

Needed materials:
Each activity should be accompanied by the therapist's
Choice of accompanying instrument, i.e., keyboard, guitar,

autoharp, or omnichord.

The activities are: ‘
song: "Be My Friend"; rhythm instruments
song: "All the colors of the Rainbow";

color—shape cards
Aural discrimination tasks
rhythm and mallet instruments
song: ”Countdown"
song: "Shake Something"
Performance imitation tasks
rhythm and mallet instruments
song: "A Pocket Full of B's"; alphabet cards
song: "Feelings"; faces card

song: "Play Your Sticks"; rhythm instruments

113

Needed Instruments:

accompanying instrument(s)

metallophone

xylophone

claves

hand drum

jingle bells

maracas (2) (capable of dynamic contrast)

tambourine

triangle

woodblock

17

“If

114
Instructions for Activities:
Be My Friend

Before starting the song, ask the child his/her name
(first and last). Insert the child's name into the song.
Sing through the song the first time, having the child
stand and clap in the appropriate place. Sample
instructions for this are: "Listen to the words and do what
the words tell you."

Ask the child to select any rhythm instrument to play
and repeat the song, encouraging the child to play the
rhythm instrument while singing. Have the child play the
instrument throughout the second verse. A good rule is to
allow the child to play the instrument only when you are
playing the accompanying instrument. Listen for the
Child's ability to play on the beat and for what rhythms
the child uses, i.e. simple, or complex.

"Be My Friend" tests for classroom behavior,
communication skills, motor skills, self—concept, and
social skills.

"Be My Friend" song lyrics:

First verse: perform as written, inserting the child's
names in the blanks.

Second verse:
(Name): ,
Won't you be my friend?
(Name): , .
Won't you be my friend?
Won't you come along and join my little song?
All you have to do is play on your (instrument)
Won't you come along and join my little song?
All you have to do is play on your (instrument)

18

115

BE MY FRIEND

During each instrumental phrase the leader sings one or two names of

people In ther roo
you be my frI end?"

m.Then everyone sings the following phrasef

Example: ”Bobby, Bobby. Won I you be my friend?"
obby lohnson. Won 1 you be my friend?"

”DaVId and Rosa Won c you be my frI Ien n?’d
Each person stands and claps when his or her name is called. This con‘
tinues until everyone's name has been sung.

'Won 'l

 

Words and Music by

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

HAP PALMER
Repeal as many I/mes as desired
A .I A D D Leader
1 (LI. I ‘I
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Name. ____ ._ _.
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I I I I | AI I l I l I I I L I
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Won't you my friend? Name: , . Won't you be my friend?

G D
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Won‘t you come a - long and join my III tle song?
2 A G D
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All you have to do Is stand and clap your hands.

G D
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Won't you come a - long and join my lit tle song?

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lnlernanonal Copyughl Secured

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116
All the Colors of the Rainbow

Using the color—shapes provided with the MTPCA, sing
through this song and have the child determine which color
is appropriate during the song. Sing this song as written,
performing all verses.

Tape the color—shapes to the wall and have the child
go and get the color he/she thinks is appropriate for the
color in the song verse, place it on the floor or table,
and verbally identify the color and shape chosen. After
singing the song, verbally ask the color and shape of those
not used during the song. A good time—saver is to have the
child get the color—shape during the words "we have all the
colors of the rainbow.”

The color—shapes provided with the MTPCA are:
black square, blue circle, brown triangle, green square,
orange rectangle, purple heart, red octagon, white diamond,
and yellow star.

”All the Colors of the Rainbow" tests classroom

behavior, academic skills, motor skills, and social skills.

20

 

117

ALL THE COLORS OF THE
RAINBOW

Materials. Color cards— Red green, yellow blue, black white, brown,

”purple gray and any other color you can find
Each person has one color card. This song asks what the colors may be of
various things around us. If you have a color that answers the question
stand up The song is repetitive, so everyone can join in. For instance:
”I...

eader: “What color could a flower be?"

Everyone: "Here's a color that a flower could be."
Words and Music by

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

(those with the appropriate color, stand)
"We have all the colors o/the rainbow.” HAP PALMER
G D C G
$.37 I fr I ‘14 I'\ fin
' A A A A 141
Cfi? JrIiJn—riqj- .I'IT IA. IT
j I I I v A} T fir V A | l V I J
j h—l 'r’ If '7- 1—
What
G 67 C
.11 II
: I I J; I I J I a A I A I: l I I l I‘dfill;jl
fi I y' ~._.
fl er that a flow- er
col - or could a be? Here's a col - or could
'but - ter - fly' 'but-ter- flies._. '
G D
II d' I L I C
L! I 1’ I I 1 j— I I_ *1
jl—r a n . A 1_ L 1 I J J
E? I a -' I I' r U. :I- A' - .L c .
g) 0 m 1* I fl
be We have all the col-ors of the rain -
G G7
J) at
J+ I I A 1 —f I I I I
... 4%7 ”II eeiefiiesfi. .Irssssass pi es. J s - 444;::%
o 1 - - v m— - , fil—I
Q U I I 77
I Id I "CC I b 7 H
bow What co - or cou the sky c on: s a
0 C G
_ _ _ I 1
CI W I I Ir l I‘l—L —I_,~'I-"_— - - _._—;._l
U A A I A A I I A l ' I If v I
v ' A V I I V I I [ fl
- a I 7*
a tree
col .or that I the sky I could be. We have all the
D C II. l2.
JLla# 7 If I II GI G
I r - I A II I r I . IE r 3'
3b r I l' I J II A r I . . i
v I I v u v I
Q) l '
col - ors of the rain - bow What bow. They're

 

 

I__..
ll

1;:
M

 

 

 

 

 

 

 

' 'TY ' thing;____ each
G
I I L I I
I l l I l
| ' 4| A [J v
- 4 I v . El
. I
one with a spe- -cial gift to bring.__.— They

opy' ighl © I980 HAP- PAL MUSIC.| NC
lnlernaIIonal Copyright Secured MadeIn U S A. All Rights Reserved

118

 

 

 

 

 

 

 

 

 

 

bright-en up the__ world and make you want to sing. We have
G D C G
A II A J
n I I J L 1 | fl
A. - I . I - fir I L fl
I’ J I I T V . I AL TA. 7 *1
If A? r f I *L " rv I
all the col - ors of the rain ~ bow.
(G) o C G Fine

 

 

 

 

__
4— l_______-_.'_"_____.____
. - ' 4|

  
 

 

V | I

 

 

I I’

I v

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

col -or could a pup . py be? Here's a col u -
-or that P PPY I
I c l- or could a bird be?I a I bird Icou d
C (G) D C
L 4‘; If fir fh—l’ I I I
t II—fi a A l A A I I I A I l I
I A I I F I: r r I I A" I' T I A I
I [AL fiI—I I 4L I " fl
g a I ‘2 I
be. We have all the col - ors of the rain -
G G G7
AL ( ) x
U I I I fl II I I fl
T If C‘r [ I I L jiI I I A A I fl
#7 1 If I A A I A ' I I' I' I' I
,r *Ff I v v w v v I | 1 II I
$ v _ I I y
bow. What col -or could a Iklt ' WI be? Here's 3
ba - by
C G
:ALL_L l'\ I I I\ I I *1
E ifil T .I I 41 I . J' .' . I I9 ' y—I‘
‘V *f A A ' LI I I ‘I——I
(J v a I I
col - or that a 'kit ' [VI could be? We have all the
ba - by '
II. I I2
D C G 0.5% a/ Fine
I! L +1 I I I II I I fi—n
I ‘1' A l I II I I t o
P P r ' I c II 5 f I -
Q) ' '
col - ors of the rain — bow. What bow. They’re

Variations: 1) Answer each question in the song by moving around the
room and pointing to something that is the color of a flower, tree, butter
fly, sky, etc. 2) You can also do this song two ways: The first time let your
answers be the real colors—the colors things “really" are in the world.
The second time let your imagination run wild and suggest any color you

wish things to be.

22

 

119
Auditory Perception Skills:

This section should be presented as a "game" to the
child, rather than as a formal test of apptitude. Seat the
child so that he/she cannot see any movement from the
various instruments; that is, turn the child away from
you. This will help to prevent the child from being able
to see what is being played. Be careful that you do not
say "that's right, good, etc." or "listen carefully or
think before you answer, etc." after attempting an item, as
this will indicate to the child whether the responses are
right or wrong. If the child asks whether the response is
right or wrong, respond that this is a game and it doesn't
matter.

Take the prescribed format for these tasks into the
assessment room and follow them during the administration
of the MTPCA. Record the child's responses on the
recording form while adminstering this section. This is
necessary to insure accuracy on the recording form.

It is necessary to break this section into two parts
during the administration of the MTPCA. Often, children
become restless if they sit without any movement activity
for a length of time. Part A, auditory discrimination,
sections 1—5 are conducted at this time. Part B,
performance imitation tasks, sections 1-5 are performed
after the song "Shake Something".

The tasks in the Auditory Perception skills also test
for classroom behavior, motor skills, and attention

span/compliance.

23

 

 

 

 

 

120
A sample introduction for this activity may be:
"Let's play a game, you sit here, cover your eyes and don't
peek while I play some sounds for you. I want you to tell

me whether the second sound is the same or different from

the first sound. Let's try one." (Do the example here.)

Often, it becomes necessary to remind children not to peek

during these tasks. If the child answers the example

incorrectly, teach the concept being tested and repeat the

example. Continue with the test items after the example is

played the second time regardless of whether or not the

answer is correct.

For each category use the instructions given and

play the instruments, saying: "first sound (play), second

sound (play)." Each item may be repeated if the child

requests.

A. Identifies Changes/Differences in:

1. Timbre: (have the child tell you if the second

 

sound is the same instrument or different from the first)
Play four quarter notes with each instrument.

example: jingle bells * claves

a. triangle * tambourine

b. claves * claves

c. hand drum * woodblock

d. maraca * tambourine

e. jingle bells * jingle bells

24

 

 

 

121

2. Dynamics: (playing on the given instrument, have

 

the child tell you if the second sound is softer/louder.)
Play four quarter notes with each instrument.

example: claves: soft * loud

a. hand drum: soft * loud

b. woodblock: loud * soft

c. maraca: soft * loud

d. claves: loud * soft

e. hand drum: loud * soft

3. Pitch: (have the child tell whether the second
sound is same/different or higher/lower/same, depending
upon the child's level) Use rubber mallets for the
xylophone and yarn mallets for the metallophone to get a
clearer pitch when striking the instrument. Play each note
one time. Be sure to stop the first sound before playing
the second sound.

example: metallophone: c * higher a
a. metallophone: e * octave higher f
b. metallophone: b * lower d.

c. xylophone: f * lower a

d. xylophone: a * same a

e. metallophone: d * higher f

25

 

122

4. Rhythm: (play all items on the hand drum, have
the child tell whether the second response is same or

different)

examplewuwnlil
a.JJDJ *JAJ
b.JJJJ 9‘? JJJJ

C.I’JJDJ*AJDU
.. 3;; arm);
e. DDJJarDI‘JJJ

5. Tempo: (playing on the hand drum, have the child
tell whether the second response is same/different or
faster/slower)

play: lst time 2nd time

example: A J J J slow fast
a. J J n J slow fast
b. J J J J fast slow

c. n J D J fast slow
d_ J J D n 51 slow fast
e. n n A J fast slow

26

123

Countdown

Sing through this song using the format below.

Holding fingers up to help with counting is permissable.

Encourage the child to sing along during this song. It may

be necessary to explain to the child that a countdown is

the same as counting backwards.

"Countdown" tests for basic concepts and speech.

Song lyrics:

Verse 1:

Verse

We're doin' a count-up, we're doin' a count—up
We're doin' a count-up from zero.

We know what we say and we say what we know,

and we know we can count up from zero.

(Stop singing and have the child rote count up from
zero to 20, or as much as possible. Then sing the
numbers using a G—E ostinato.)

2:

We're doin' a count—down, we're doin' a count—down
We're doin' a count—down to zero.

We know what we say and we say what we know,

and we know we can count down to zero.

(Stop singing and have the child rote count down from
10 or 20, depending upon the child's level. Then
sing the numbers using a G—E ostinato.)

27

124

 

 

COUNTDOWN

Materials: Number cards.

Words and Music by

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Cha-cha beat HAP PALMER
Intro
_nnI G
r n u u U u n u u a F Cl I ’1 1I - 3 Cl film
L 1‘ I‘ I f‘ l‘ 1‘ J P I I. I [0 r I" I K—n
I I II I I IL I l I [I I1
We're
G
_£LII . x
W x I f 1 n fl
. I II t I f” I I II I I
0 I T— I A A I A I J I I A L I k I
W'; '1 :l x v :' 4L I 'L 'l d ._ .' :1 41 I
do - in' a count ' up, I we’re do - in' a :count ' up, I we’re
count - down, count - down,
9 I (G) D G
I I‘I i Li I u I P'I Ila—1 II 7 I
m I I I ‘I ‘I I IL I_ I II I r K I I I I ‘I A I K I
M I_ I ‘I V ' H l' I A. I' I 11 L I I A V 7 AL II ’1
do - in' a count ' up from ze - ro._ We know what we say_ and we
count-down to '
(G) D G
W is . I 4% K I I I‘-\ I II
F LL f I r If I II I K I II L I]
Lm I I I .I .I f L I I I I .I A I n W
LY ; [—41 v v f II I I I .I v V .I l' I
Q) ' ' v V v i ' ' v v V r V
- from
say what we know,_ and we know we can :count up I ze - ro._
count - down to

Copyright © 1971, I976 HAP-PAL MUSIC. INC.
International Copyright Secured Made in U.S.A. All Rughts Reserved

28

125

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

C G
J; I
I I *I I
I_I I I I r I I - I l I l I I | J
15* J é ' é ' I d ' L I r I I I a F ‘ I
l' Ll '
Ze - ro, one, two. three four, five,
Ten, nine, eight, sev - en, six, five,
1
C .
at D
I I h I I I' I L I ' I *IV I ‘I l .1 -
J I' ‘1 ‘1 r } 5 r l I T j P I a I l K a
v v I I I l I II
a r L—J 1‘
SIX, sev-en, eight, nine, ten, Yea! WCIrc
four, three, tw , one, ze ro,
l2.
(D) G7 C7
A a L Count - down! Repeat and Fade
v I! 1I d K fir l }_{Il ix, r\ 1 h I n I ,I
E . I II l a I a ..2 .l .L- .l I “’T3 55 h l J l J4]
[ A ' A ll ' V .L ‘ I A I' A V A i
v ' ' ' Ltvr' - ' ' '
Yay! We’re do - in' a count - down,__ We're do - in' a count-
There are many ways to use this song. Here are a few examples: .o.
‘h
1‘

. Everyone has a number card. When your number is called during the
"count-up,” hold your card up. When your number is called during
the ”countdown," put your card down.

_‘

2. You can do this by yourself with a complete set of number cards,
l-iO. Hold up and put down the correct numbers as they’re called.

With a partner: Lay the number cards in a vertical line on the floor, 0
on the bottom and 10 at the top. One person stands to the left of the
zero, the other on the right of the zero. When each number is called,
walk up the line and stand by the number. Take turns, or walk
together.

4. Hold up body parts: One part when the “l" is called; two parts when
the number "2" is called, and so on, until you’re holding up ten
pans!!! (Example—2 elbows; 3 fingers; 2 knees; 2 feet and your head.)
Put the parts down, one by one, during the countdown.

w

Put the numbers, 1-10, in a horizontal line on the floor, one foot
apart. Set a hurdle parallel with the number line at a distance. One
person stands behind each number, facing the hurdle. When your
number is called, run and jump over the hurdle, then run back and
stand behind your number.

5"

 

126
Shake Something

Have the child stand in an area free from obstacles.
Instruct the child to "Listen to the song and move your
body however the words say to."

Sing through the song as written. While you sing
through this song, have the child perform the movements
specified in the lyrics. Ask the child what body part
he/she is moving during the song. Be sure to allow ample
time for the child to perform the requested task. If
necessary, repeat the task in the song before going on to i
the next task in the verse. If the child does not respond
to the request, vamp and cue the desired movement before
going on to the next line of the song.

After the song, ask the child to point to body parts
not mentioned during the song, such as waist, wrist, and
ankle.

"Shake Something" tests classroom behavior and motor

skills.

30

 

 

127

 

0

You can solve these challenges sitting down or moving freely around the

 

 

 

 

 

 

room.
Words and Music by
HAP PALMER
Dm D
n L .
H I; [a 4 4 74 7L i 7 VA 7 . J I I
g h i V ' v I . fiifi
V
1. Can you make some-thing go

 

2. Can you find some—thing that can

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Dm
_A_ I ( )
43. k I h l ‘ l ‘ ,———,i
E’ I‘ I .bJ. r I ' ' " " i " ‘ ‘ Ia:
d If U l, l .'
up and down?_ Can you
end and un - bend? Can you
Dm (Dm)
hi *I I I I I I I) I 1
I I I I [ [ i T X I l\ l l A A A A l
Qtl ' -fi4 .1 I I I l‘ I .1' .I. I I ' ' ' fii
\I U C U V I
v _ is r I i
make some-thing else_ __ up n down?_.
find some-thing else_ that_. bends and un - bends?
G7
# _ .
L |l l l l | fl
4 A A ril Ll I l l l la I I I i ‘1
V V ' I i II I I ' .T l i l I I l
'l 1 II v I '1 4i I 'i '1 a fi
J \_,
Oh,_ can you make some-thing go_ 'round and 'round?
Oh,_ can you find some-thing that_ you c n twist?
C (G7l Dm
_l._i_ I __. I l I I . d
IA 4 4 4 A I r' I I l L l l l .
1L 7 V r I r r r j I I l I I .. I T ‘1
L I l I I " I f
U ' I ..
Can you make' some-thing else_. go—
Can you find some-thing else_ that—
(Dm)
4* . I I —- i
- t, T f l I - r r r 1 r r r i 1
I I U I I .l . l
I C
'round and ’round? Can you
you can twist?

Copyright © 1976 HAP-PAL MUSIC, INC. _
International Copyright Secured Made in U.S.A. All Rights Reserved

31

128

 

 

 

 

 

J) ‘ Dm G
'l j I II I I I I I l
p l I—fi I F— l I I I I I I I
I I I I LLA .I .I .I n tfr 7 7r
_ I I I I I IL' ' V I I
I U U U

shake some-thing,shake some-thing, shake it all a - bout?

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Dm Dm
”Q ‘I I i ( )
I I 1 I 41
@‘F u‘ .1 .' J I I 7 I II I I‘ I l- I r r r VA—P
' I ‘1' I L I I I I
U .5 c a V
3.Can you make some-thing go... back and forth?_
{I (Dm) (Dun)
HI—II I—h I ‘ x I I
@L"' I I IfiIIII ‘I‘II- IrrrrI
' l I I I I I I . I I
v 4 U I V
V
Can you make some-thing go side to side?_ ‘
J G7 (G7)
J‘I I i I I l I I
n I I I I I I ‘I I l I I I A A A A I
g" I l I A I I I I I I J I' r V V l
V I I I I I I (J J l
(J v 4 U U
can you make something go_ ver - y fast?
Dm (Dm)
J5 _ I I
H I‘I Ifii I I I I I 1
I I I I I I _I I I l I I I 1 A
E l I .I I I I I I I I l I V r r r 17
d ' I '1 .J- I 'I '1 I I I
\_/
can you make some-thing go___ ver - y slow - Iy7
F G A Dm G
A; I
- —,H——I—~—t——I-——~I—I:I—I-I—~I-—-—l—i I A
- 'r I I I I I I I .I A A n I r r r r I r r
l I - I n I I ' V V ' I I
U U U I

 

shake some-thing, shake some-thing, shake it all a - bout?

Here’s an Interesting variation you can do with a partner—one person sit
and one person lie down. lfyou’re lying down, just relax and do nothing.
If you're sitting, try the following:

I. Find a pan of your partner's body that you can make go up and
down, and make it go up and down.

Find a body part that you can gently twist.

Can you shake something—any part you want to shake?

Now try these with the music.

93"”

32

129

Performance Imitation Tasks

B. Imitation: You may repeat the item for the child;
however, once the child has made a response, go on to the
next item. Perform the items on the medium specified and
have the child repeat it. A good approach for this is to
say "my turn", play the task, then "your turn" and the
child plays the task.

The imitation tasks also test for fine motor skills,

social skills, self-concept, and classroom behavior.

1. Single pitches: Play the note on keyboard and

 

sing the pitch on "la". Have the child sing the pitch on
"la". The child may also play the note on the keyboard, as
you did before singing the pitch. The pitches should be
modeled within your singing range.

example: e (above middle c)

a. g (below middle c)

b. f (above middle c)

c. a (below middle c)

d. g (one and a half octaves above middle c)

e. middle c

33

 

 

 

130
2. Simple phrases (melodies): Play on keyboard or
sing. Have the child play or sing; use the syllable "la"
for singing.
example: (sing)

a. (sing)

 

b. (keyboard)

c. (keyboard)
Q.ke board , sin '

d. (sing) y g e" sing

e. (sing)

 

3. Simple rhythms: Play on hand drum or clap.

example: drum: J JJJ
a. drum: D J J") J
b. clap: J‘j J‘] J J
c. drum: J J J’j J1

d. clap: A c) J
e. drum: A al J

 

34

131
4. Dynamic levels: Sing or play on the specified

instrument and with the given dynamic level. Instructions:
"Let's play some soft or loud sounds. My turn...Your
turn..."

example: soft: drum

a. soft: woodblock

b. soft: metallophone

c. loud: sing

d. loud: drum

e. soft: claves

5. Different tempos: Play on the specified
instrument. Instructions: "Let's play something slow or
fast, you play exactly what I play. My turn...Your

turn..."

example: drum: slow J J J J

a. drum: fast I] J J J

b. xylophone: slow a 1:6. C TG
c. triangle: slow J ol J

d. claves: fast J J J J

e. drum: fast J .l D n

35

132

Feelings

Sing through this song using the lyrics below.

After singing this song, ask the child to identify
what emotions are on the faces card. You may also want to
have the child make up a situation for a feeling
corresponding to a feeling on the faces card.

"Feelings" tests for affective characteristics,
classroom behavior, and speech.

Song lyrics:

Sometimes I'm feelin' happy and I'm wearin' a smile;
Show me how you look, when you're feelin' happy.
Sometimes I'm feelin' happy and I'm wearin' a smile;
Tell me about a time, when you feel happy.

Sometimes I'm feelin' sad and I'm wearin' a frown;
Show me how you look, when you're feelin' sad.
Sometimes I'm feelin' sad and I'm wearin' a frown;
Tell me about a time, when you feel sad.

Some feelings don't always stay the same, they can change.
Sometimes I'm happy, sometimes I'm sad,
It's o.k. It's not bad.

Sometimes I'm feelin' angry and I stamp my feet;
Show me how you look, when you're feelin' angry.
Sometimes I'm feelin' angry and I stamp my feet;
Tell me about a time, when you feel angry.

Sometimes I'm feelin' sleepy and I have to yawn;
Show me how you look, when you're feelin' sleepy.
Sometimes I'm feelin' sleepy and I have to yawn;
Tell me about a time, when you feel sleepy.

Some feelings don't always stay the same, they can change.
Sometimes I'm happy, sometimes I'm sad,
It's o.k. It's not bad.

Sometimes I'm feelin' funny and I have to laugh;
Show me how you look, when you're feelin' funny.
Sometimes I'm feelin' funny and I have to laugh;
Tell me about a time, when you feel funny.

36

133

FEELINGS

 

 

 

 

 

 

H l \\
Materials (optional): Paper and either pencils. chalk or crayons.
Make faces and act out the emotions named in each verse. Draw faces to
illustrate each emotion. Hold them up as they are named in the song.
4W .P‘k AM. “I ,5“
Words and Music by
ROC" ”‘Y‘hm Verse HAP PALMER
D D
A I} 1
H 'dul I I II.
w j I]. I I I l L I :I I fi
1) :L d 1“ d "f ' '

Some - times I'm feel-in' ghafaapyfand I’m

1
I I
11 'II I J I I— I F A! A I I I I
’II F F
v [1 _I 0
v v ‘ .
‘u-'

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

wear - in’ a gsmilep let me show you how I look when I'm feel - in' hap ‘ DY.
frown,_ sad.
J4 (D) G D A D
Lulu I f L f - j]
LJ/ l I l u. . I
Some -
Oh,
Chorus
G
J! N J I A I
L '1'; I I A A I I I: F f: 5' A} a
m r r a I . I I if - e 1
Q) I ' I V
feel - ings don't al - ways stay the same... they can
0 G
‘ o o H .
' g ' ' I A . 1:; I A A if I I 1]
W J J1 5' i I I, I J r r 7 ti 1
' I I I I I I I
Q) I I
change Some - times. I’m hap - py,some
A O O
11 4 ANI I I ILI f P A I I l V 1]
A II A ‘ I' V I I I I I I I' I I T 4 II
LflL :1 1' r I; W1 l a ' .' 11}
m I l I ['1
e) V l . .
times I'm sad It's 0. k. _ Its not bad. Some -

Copyright © 1972, I976 HAP-PAL MUSIC, lNC.
International Copyright Secured Made in U.S.A. All Rights Reserved

37

134

 

 

 

 

 

 

Verse
D
. I I 1"‘::____1 If '
. l ‘I :fl { I ‘ 1% L fl
Q) :20 ii 'i'0 :i U}; c%*415. l;:’kglt:_—4i Agglti \‘__’!2 4——'
_ ' . . gry stamp my feet;
times I m feel in 'lslaegp . l and l l have to yawn..—

 

 

 

 

 

 

I
;T[%
q_s_
____
----

l

I 1

I I l

I A. .1
v v

 

 

 

 

me show You how I look when I'm feel - in 'Islegp '. 3;)“:
(D) G D A o
‘42 gm, 1 1 ‘1 i - 3|
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. . 1 1 I :3‘ F* I a} l I l
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change. Some - times I'm hap-py,some -
DA A
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D
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times I'm feel - in' fun - ny and l have to laugh;
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let me show you how I look when I'm. feel - in’ fun - ny.
(D) G D A D
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W l 1 1 WI
0)

38

 

...—...-.. ll .. ___ _..-‘q.

135

A Pocket Full of B's

While preparing to sing this song, ask the child to

say the entire alphabet.

Sing this song without accompaniment. Sing the
lyrics below and use the alphabet cards for visual aid. Go
through as many of the alphabet cards as possible.

"A Pocket Full of B's" tests basic concepts and

speech.
Song lyrics:

Got a pocket full of (letter) (show letter card),
a pocket full of (TE?ter)

I mean the alphabet, the letter ___ you get from the
alphabet.

It's a sound you've heard that makes the words

like (show picture card),

like (show picture card),

like (show picture card),

like (show picture card).

I got a pocket full of ___(letter).

 

Repeat this sequence for each letter of the alphabet that
you use in the assessment.

39

136

A POCKET FULL OF B’s wé

Each verse of this song features a different letter. Each time a word begin- é) gay
ning with that letter is sung, pull an imaginary letter out of your pocket

and say the word you heard.

Variation: Each time a letter word is sung ("Like ball . . ."), say a different W N

word that begins with the same letter.

Words and Music by

 

 

 

 

 

Fast and lively HAP PALMER

A G GS Gmai7 66 G G6 Gmai7 G6
I: I I I I l I II
[I I I I l I I l I l I A I1 ‘ ll
\ T I l I I I I l I l | 7 V V II
I H I 1 II I I A I a .I I II
a v V a v ' =7

I. Got a
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‘F I I II I I I I 7
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pock-et full of 8's. 3 pock-et full of B's.$poken: A pack-er full of bees like the
E7 A7 D7
_ng ( )
y a l l I
u r l A A A I - I - r—l I I I 1 l
g I‘ I‘ I‘ A I F I' I' F I F I I l l I I I
l I l ‘ I l l I II I I 'I .T 'l 'l :I 'l J
o) l l l I l l V l
kind that sting? No, I mean the al - pha - bet,_ the let - tcr
G E7 A7
h 13 H H
[J I I I l I I |
" A A A II I I ‘ Ya I :1 I; I I ‘ A ‘1
Q r r r I" l r I .l .l . ' 1' a r r F I
Q) l l l l ' ' ' I l l l
”B" you get from the al - pha - bet... It's a sound you‘ve heard that
D7 G 87
a I .
u - - in _ [I ,—» —.—IA~~-_———
£§ 1' r l' I I' I r 1' l r- 1
1 I 1 1 l l I I _ I I 1 I
Q) r I l I I l
makes the words_ like: ball, ba/l, like boat,
E7 A7
:nl—L ‘ l r _ I ..l I A l #1
E 1 " f l f r l - ' I I l’ a l
.J l l I l
boat, like blue, blue, like ba - by,
Am D7 (3 E7
‘ 0
A”: I : . I - :r .: : l l i
go; I l r r ' I l l : I ' f l v l %'
- l
k - t full of 8's Wool
ba _ by. I got a poc e
~ To Verses
A7 D7 6 Fine G6 Gma|7 66 2..
‘ fi:F—’.:E- : I l - l l - r. , I l 1.:
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I got a pack — at full of 8'5. 2. Got a

Copyright © I980 HAP-PAL MUSIC, INC
International Copyright Secured Made in U.S.A All Rights Rt‘wrvt'd

4O

 

137
Play Your Sticks
Sing through this song, allowing the child to choose
which instrument to play. Ask the child to sing along with

you as he/she plays the instrument. During the song, ask

the child to play along with your beat. If the child

chooses a melodic instrument, such as piano or xylophone,

then play a rhythm instrument.

You may repeat the song, having the child play a

different instrument if time permits.

"Play Your Sticks" tests for motor coordination,

social skills, and classroom behavior.

41

 

 

 

138

PLAY YOUR STICKS

Materials/Rhythm Instruments: Sticks, shakers, blocks, tambourines,

bolts.

This is based on a folk song called ”CLAP YOUR HANDS,” which I
learned from the students at Wilsie School in Braxton County, West

Virginia.

You’re going to play by groups, starting with the sticks and continuing on
four more times, finishing with bolts. When it’s time to collect the in-
struments, change the lyric to “Bring, bring, bring your sticks.” Then
bring your instruments up and put them away by groups, which

eliminates the chaos of everyone coming up at once.

 

I

  
 
 

Words and Music by

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Copyright © I972. I976 HAP-PAL MUSIC. INC.

International Copyright Secured

42

Made in U.S.A.

All Rights Reserved

HAP PALMER
D A7
but .
1m _II _Lj ' _I ]
Li LT T i L LT
fl 1— I I
g T fiJ‘I'I m ‘1
of 0 0 I l ' F 3
sticks,
Play, play, play your shak ‘ ers,
QIOCI‘S play them all to - geth - er.
Play your tam-bou-rines, l
Play, play, play your bolts,
D A7 D
n L
r 11 f; l I g L. T [I
' _g I I—fi L g T_I_ I W
_L j I _I I—L _1 fl
W I ; I ’L j]
u U a V 0
sticks,
Play, play, play your ISIIakk - ers,
b cc 5,
Play your tam - bou- rines, I play them all ‘0 ' 83th ' er.
Play, play, play your bolts,
(D A7
_1L& ) l
—L§L _I r r _n F . r m 1
:43) “n I _L —t ' .T L '14 fi' —I fi fi‘ i '
7— J m: v J I 1— l7 A T fi—A j” I
Q) U U '— 7 ' V a
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#E I i fl I—_ 1 r_1 fi
m p I—' I ti 7. I I? I i Iii: fifi:
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(DI _ A7
# I i I I I I I I +1 I J
m _E i i :lj fi I E I I I 4i l I 3]
_L‘V I E I i a I I T A L A . fl
J 0 a U U v v 3.
Play, play ev - 'ry - one, ev - ’ry - one to geth - er.
D A7 D
A» L
J «.L 1 I I I I i I r *1
_II 1 t I l I I I l I I 17 l I I fi-
W__ L 1 I: A 1 I I I 1 ;I L I j.
r 1 v a I I g .I I I A _r 1-
') U a I r V V 0
Play, play ev - 'ry - one, ev - 'ry - one to geth er.

 

 

139

Recording the MTPCA
The preparation and writing of the assessment report

are integral parts of the assessment process. A child who

is assessed deserves to have a report that clearly and

concisely expresses your findings and recommendations. The

content and organization of the report should be examined

just as carefully as the assessment is conducted. A good

clinical report does not merely record test performance.

Rather, it brings together test performance, behavioral

observations, case history information, other assessment

findings, and significant temperament and personality
variables in the context of the child's behavior during the

assessment process. The report presents the material you

have learned about the child in a manner that shows respect
for the child's individuality. This respect for
individuality should permeate the entire assessment

process; that is, the child should be viewed as an

individual and not simply as a stimulus for gathering

statistics.
When formulating the assessment results, the
circumstances under which the assessment took place must be

considered; such as the limited opportunities for

observation and interaction. Specific examples should be
used to illustrate not only qualitative characteristics of

the child's performance, but also Clinical interpretations.

Recommendations should be made with an appreciation of the

needs and values of the child.

43

 

140
Although you should strive for objectivity and
it is important

accuracy in writing the assessment report,

to recognize that no report can be completely objective.

Every report has elements of subjectivity. You choose
which words to use to describe the child and which
behaviors to highlight. Recognizing that your personal
viewpoints are part of any report may help to reduce the
influence of any biased views that are present.

The MTPCA report should be written as soon as
to ensure

possible after the assessment has been completed,

that important details are not forgotten.

44

 

 

141
Using the MTPCA Recording Form
The following pages in this manual contain the test
items in the order they appear in the MTPCA Recording
Form. A copy of the MTPCA Recording Form is on pages

47-52.

Most of the items of the MTPCA are defined in terms of
the child's behavior, although some of the items are
defined in terms of how you complete the MTPCA Recording
Form. Based on the child's responses during the MTPCA and
other relevant known information about this child, the
therapist should check the corresponding answer for each
item observed. Except where noted, the recording form uses
scaled responses from the therapist. The scaled responses
are "never": occurring none at all, "rarely": seldom
occurring, "sometimes": occurring now and then,
"frequently": occuring more times than not, and "always":
occurring on every occasion. Where there is no scaled
response, check-off the correct responses or write in the
necessary information. For items that are not applicable
to this child, write N/A in the left column next to the
test item. If the item may be applicable to this child,
but was not observed during this assessment session, write
N/O in the left column beside that item.

Several of the items have a space to check if prompting
was needed for the child to attempt that behavior or
skill. For the purpose of the MTPCA, prompting is defined
as (a) repeating the directions or requests, (b) giving

45

 

 

 

142
verbal assistance or more detailed instructions, and
(c) giving physical cues, as in modeling the task or
physically assisting the child. If prompting is needed for
these items, check the appropriate space. Please note that
prompting is not part of the scaled response.

All sections of the MTPCA Recording Form include an
"other" category. If there is any behavior or response for
this child that is relevant to his/her treatment planning
and it is not listed in the recording form, add it in the

appropriate section.

46

 

 

143

Recording Form
MUSIC THERAPY PROFILE OF CHILDREN'S ABILITIES

 

 

 

 

Name: DOB: Age:
Diagnosis:
Assessment Date: Implemented By:

 

 

I. Academic Skills

A. Classroom Behavior

1. Sits in assigned area never rarely sometimes frequently always
needs prompting

2. Does not interrupt others never rarely sometimes frequently always
needs prompting

3. Attends to task never rarely sometimes frequently always
needs prompting

4. Follows directions never rarely sometimes frequently always
needs prompting

5. Completes task independently never rarely sometimes frequently always
needs prompting

6. Other: never rarely sometimes frequently always

 

needs prompting

B. Basic Concepts

1. Color identification: ___black ___blue ____brown ___green ___orange
___purple ___red ___white ___yellow

2. Shapes identification: ____square ____circle ____triang1e ___diamond
___rectangle ___star ___heart ___pctagon

3. Counting, numbers concept counts up ____to ____

counts down ___ to ____

4. Alphabet, letters concept .___says alphabet ____identifies individual letters

5. Identifies body parts: ___yerbally ___nonverbally

6. Other:

 

II. Communication Skills
A. Pre-Verbal Expression
1. Makes vocal sounds (list)

 

2. Imitates syllables (list)

 

3. Vocalizes sequence of sounds (liSt)

 

4. Other:

 

47

 

 

B. Receptive Language

C

E
.

l. Attends to message/
instructions

2. Makes eye contact
during conversation

3. Responds to message/
instructions

needs prompting

4. Other:

 

Expressive Language

1. Expresses simple ideas

2. Expresses feelings

3. Expresses wants/needs
4. Expresses with feeling
5. Other:

Vocabulary

1. Verbalizes names of objects
2. Uses verbs/action words
3. Speaks in 1-2 word phrases

4. Speaks in sentences

5. Other

144

never
___never
verbally:
_neve r
physically:

___never

never

verbally:
_never

nonverbally:
never

verbally:
___never

nonverbally:
never

verbally:
___never

nonverbally:
neve

rarely

rarely

rarely

rarely

rarely

rarely

rarely

rarely

rarely

rarely

rarely

verbally:
___never

nonverbally:
never

rarely

rarely

never

never
never

never

rarely

rarely

rarely

rarely

simple sentences:

never

rarely

complex sentences:

never

never

Articulation (note areas of deficiency)

l. Vowels

rarely

rarely

 

2. Consonants

 

3. Letter combinations ____________________________

4. Other:

 

48

 

MTPCA Recording Form - 2

___sometimes ___frequently
___sometimes ___frequently
___sometimes ___frequently
___sometimes ___frequently
___sometimes ___frequently
___sometimes ___frequently
___sometimes ___frequently
___sometimes ___frequently
___sometimes ___frequently
___sometimes ___frequently
___sometimes ___frequently
___sometimes ___frequently
___sometimes ___frequently
___sometimes ___frequently
___sometimes ___frequently
___sometimes ___frequently
___sometimes ___frequently
___sometimes ___frequently
___sometimes ___frequently
___sometimes ___frequently

always

always

always
always

always

___always
___always
___always
___always
___always
___always
___always

always

always

always
always

always
always

always

always

III. Motor Skills

A. Gross Motor Skills
1. Beats a steady beat

145

MTPCA Recording Form - 3

with an instrument:
ne

 

ver rarely sometimes frequently
other (i.e. clapping, patting):
_never _rarely _sometimes _frequently
2. Claps hands consistent with good sound production:
neve rarely _sometimes _frequently
3. Completes motor sequences never rarely sometimes frequently
_needs prompting
4. Ambulates smoothly never rarely sometimes frequently
if not, desribe
5. Other: never rarely sometimes frequently
B. Fine Motor Skills
1. Grasps with: rightv han d:
er _rarely sometimes frequently
left hand:
_never rarely sometimes frequently
2. Uses 2 hands independently; _never rarely sometimes frequently
favors side
3. Eye—hand coordination; never rarely sometimes frequently
well-demonstrate
4. Uses independent finger never rarely sometimes frequently
movement
5. Other: never rarely sometimes frequently
IV. Affective Characteristics
A. Self-Concept
1. Makes positive comments ___never ___farely ___sometimes ___frequently
abouts self
needs prompting
2. Displays pride in work verbally:
never rarely ___sometimes ___frequently
nonverbally:
never ___rarely ___sometimes ___frequently
3. Perseveres at difficult never rarely __sometimes ___frequently
5
needs prompting
4. Gives personal identification says name, first and last
or er:
5. Maintains eye contact ___never ___rarely ___sometimes ___frequently
needs prompting
6. Exhibits healthy grooming never ___rarely ___sometimes ___frequently
habits/appearance
7 Other: never ___rarely ___sometimes ___frequently

 

49

always
always

always

always
always

always

always

always
always

always
always

always

always

always

always

always

always
always

always

 

 
 

 

B. Emotions
1. Actively responds with never rarely
physical &/or facial affect
2. Expresses appropriate verbally:
emotions never rarely
nonverbally:
never rarely
3. Identifies emotions never rarely
4. Identifies situations/ never rarely

146

examples of different emotions
List which ones:

MTPCA Recording Form - 4

sometimes

sometimes

sometimes
sometimes

sometimes

 

Other: never rarely

 

V. Social Skills

A. Interaction

1.

manner ____never ‘___rarely
nonverbally:
_never __rarely
2. Initiates interaction .__;never ___rarely
3. Takes turns and shares ___never ___rarely
___peeds prompting
4. Interacts appropriately verbally:
__never ___rar ely
nonverbally:
___never ___rarely
5. Other: ___never ___rarely
B. Attention Span/Compliance
1. Responds when name is called ___never ___rarely
2. Responds to defined limits ___never ___rarely
3. Accepts help from others ___never ___rarely
4. Offers help to others ___never ___rarely
5. Asks for help when needed ___never ‘___rare1y
6. Participates appropriately ___never ___rarely
7. Other: ___never ___rarely

Communicates in appropriate verbally:

 

 

50

sometimes

sometimes

sometimes
sometimes

sometimes

sometimes

___sometimes

___sometimes

___sometimes
___sometimes
___sometimes
___sometimes
___sometimes
___sometimes

sometimes

frequently

frequently

frequently
frequently

frequently

frequently

frequently

frequently
frequently

frequently

frequently

frequently
frequently

___frequently
___frequently
___frequently
____frequently
____frequently
____frequently

frequently

___-_—

always

always

always

always

always

always

always

always
always

always

always

always

always

___always
___always
___always
___always
___always
___always

always

 

147

MTPCA Recording Form — 5
VI. Auditory Perception Skills

A. Identifies Changes/Differences in: (answers: correct = +, wrong = 0, no response = NR)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

1. Timbre a____ b____ c d____ e

2. Dynamics a___ b__ c d__ e

3. Pitch a b____ c d____ e

4. Rhythm a b_____ c d____ e

5. Tempo a b__ c_ d___ e

B. Imitation

1. Single pitches a__ b_ c___ d__ e
2. Simple phrases (melodies) a.____ b____ c d____ e
3. Simple rhythms a b___ c d_~~ e
4. Dynamic levels a b‘___ c d____ e
5. Different tempos a b____ c d____ e
6. Other:

VII . Musical Preferences

A. Instruments

B. Styles

VIII. Activities/Instruments used in the assessment

51

IX. Assessment Summary

X. Recommendations

148

MTPCA Recording Form — 6

 

149

Identifying Information

The first part of the report presents relevant
identifying information.

—Name: child's full name, include the nickname in
parenthesis
Note: For the purpose of the MTPCA research, do not write
the child's name, instead write the child's identification
number.

-DOB: date of birth

—Age: current age

—Diagnosis: diagnosis or problem areas

-Assessment Date: date assessment is implemented

-Imp1emented By: therapist's signature

I. Academic Skills

A. Classroom Behavior

1. Sits in assigned area: Stays where requested; does
not move around to other areas in the room.

2. Does not interrupt others: Does not stop someone in
an inappropriate moment; makes comments, questions, or
actions at appropriate times.

3. Attends to task: Works on or completes task without
interruptions, such as initiating off-task conversations or
moving around the room.

4. Follows directions: Complies with an instruction or

a series of instructions.

53

 

150
5. Completes task independently: Performs requested
task without needing reminders or physical assistance,
initiates requests for help to complete tasks if needed.
6. Other: Fill in with relevant information, if

needed.

B. Basic Concepts

This section may be completed during the assessment
session to ensure accuracy.

1. Color identification: Check—off the colors the child
correctly identifies, either verbally or physically (such
as pointing to the color).

2. Shapes identification: Check-off the shapes the
child correctly identifies, either verbally or physically
(such as pointing to the shape). If the octagon is
identified as a "stop sign", it may be counted as correctly
identified.

3 Counting, numbers concept: Write the numbers the

child can correctly count up and down, to and from.

4. Alphabet, letters concept: Check—off whether the
child can a) say the alphabet and b) identify individual
letters in the alphabet.

5. Identifies body parts: Indicate whether the child
correctly identifies specific body parts, and whether
he/she does this verbally and/or nonverbally.

6. Other: Fill in with relevant information, if
needed.

54

 

151

II. Communication Skills

A. Pre-Verbal Expression: This section is for the
nonverbal child, the verbal child fits this category if
he/she makes overt pre—verbal sounds. For the verbal child
who does not fit this category, mark each item N/A.

1. Makes vocal sounds: Describe any vocal sounds made
by the child.

2. Imitates syllables: List which syllables are
vocally copied or produced.

3. Vocalizes sequence of sounds: Describe any
sequences of sounds that are initiated.

4. Other: Fill in with relevant information, if

needed.

B. Receptive Language

1. Attends to message/instructions: Seems to listen to
instructions or other information being given; this can be
indicated by eye—contact or change in affect.

2. Makes eye-contact during conversation: Looks at the
speaker, eye—to—eye, during conversation; this does not
need to occur 100% of the time during conversations.

3. Responds to message/instructions: Reacts or begins
to perform requested task once the request is given. If
the request must be given more than once before response

begins, prompting is required.

55

 

 

152
4. Other: Fill in with relevant information, if

needed.

C. Expressive Language: If the child is nonverbal, this
category is still relevant, as each item measures both
verbal and nonverbal communication. For the nonverbal
child, mark N/A to the left of the scaled verbal responses.
"Verbally" is defined as using intelligible words,
(single words, phrases or sentences) to communicate.
"Nonverbally" is defined as using gestures or facial
affect to communicate.

1. Expresses simple ideas: Communicates beliefs,
opinions, or thoughts.

2. Expresses feelings: Communicates relevant emotions
or sensations.

3. Expresses wants/needs: Communicates personal
desires or necessities.

4. Expresses with feeling: verbally: uses
appropriate inflections, such as going down in pitch at the
end of sentences or up for questions, and speaking in an
appropriate tone of voice to depict emotions or feelings.

nonverbally: uses appropriate gestures and facial

affect in communication.

5. Other: Fill in with relevant information, if

needed.

56

 

 

153
D. Vocabulary: This section applies to verbal children.
For nonverbal children, mark N/A in the left column.

1. Verbalizes names of objects: Initiates the
verbalizing of objects' names.

2. Uses verbs/actions words: Communicates with verbs
or action words, that is, words that imply motion or the
occurrence of something.

3. Speaks in 1-2 word phrases: Uses only 1 or 2 words
to communicate ideas, feelings, and needs.

4. Speaks in sentences: simple sentences: short
sentences that contain only nouns and verbs, some use of
adjectives.

complex sentences: sentences that contain nouns,
verbs, adjectives, adverbs, and other descriptive language
technics.

5. Other: Fill in with relevant information, if

needed.

E. Articulation: This category is not relevant for
nonverbal children. Some verbal children may not have
speech deficits, so this category also does not apply to
them. Mark N/A in the left column for these children.

This section may be completed during the assessment session
to ensure accuracy.

1. Vowels: The vowels are: a e i o u and sometimes y.

List the ones the child has difficulty in pronouncing.

57

 

154
2. Consonants: The consonants are: b c d f g h j k l m
n p q r s t v w x y 2. List those letters that are
deficient in the child's speech.
3. Letter combinations: This is any vowel and/or
consonant combination. List those that are deficient in

the child's speech.

4. Other: Fill in with relevant information, if

needed.

III. Motor Skills

A. Gross Motor Skills
1. Beats a steady beat: with an instrument: Able to

produce a consistent beat, regardless of tempo, with an

instrument.
other: Able to produce a consistent beat,

regardless of tempo, with body percussion, such as clapping

or patting.
2. Claps hands: consistent with good sound

production: Able to clap hands consistently with a clear

sound.

3. Completes motor sequences: Able to execute a
sequence of movements, such as walking or jumping.

4. Ambulates smoothly: Performs gross motor movements

in a smooth, flowing, non—jerking fashion. If this is a

deficit, describe the area of deficiency.

58

 

155

5. Other: Fill in with relevant information, if

needed.

B. Fine Motor Skills

1. Grasps with: right hand: Indicate the frequency
of the grasps with the right hand.

left hand: Indicate the frequency of the grasps

with the left hand.

2. Uses 2 hands independently: Able to use one hand in
contrary motion to the other. Favors side: Fill
in the blank with: right, left, or neither, according to

the child's responses. This can be measured by having the
child pick up a flat guitar pick. Note which hand the
child uses and how well he/she performs this task.

3. Eye-hand coordination; well—demonstrated: Indicate
the frequency of well-performed eye-hand coordination
tasks, such as picking up specified objects or playing an
instrument.

4. Uses independent finger movement: Performs with

individual fingers for fine motor coordinated tasks.

5. Other: Fill in with relevant information, if

needed.

59

 

156

IV. Affective

A. Self—Concept

1. Makes positive comments about self: Verbalizes
positive remarks about self. Prompting is needed if the
therapist must give clues to the child concerning what
positive things about the child may be or if the request is
repeated.

2. Displays pride in work: Illustrates pride in work,
either verbally or nonverbally, such as smiling in regard
to his/her performance in a task.

3. Perseveres at difficult tasks: Continues to attempt
tasks that are difficult, rather than abandoning the task.

4. Gives personal identification: Indicate whether the
child says his/her full name (if he/she says only first or
last, circle the response). Indicate if the child tells
other personal identification, such as address, telephone,
or parent's name.

5. Maintains eye-contact: Makes eye-contact with the
person to whom he/she is communicating.

6. Exhibits healthy grooming habits/appearance: Is
dressed in clean clothing and combed hair, and exhibits a
clean and neat appearance. Does not undress self during
session.

7. Other: Fill in with relevant information, if

needed.

60

 

157
B. Emotions

1. Actively responds with physical &/or facial affect:
Uses gestures or facial expressions appropriate to the
context of the situation.

2. Expresses appropriate emotions: Responds to
situation in an appropriate manner both verbally and
nonverbally.

3. Identifies emotions: Correctly identifies names of
emotions through pictures.

4. Identifies situations/examples of different
emotions: Gives appropriate situation for various
feelings. List the ones used by the Child.

5. Other: Fill in with relevant information, if

needed.

V. Social Skills

A. Interaction

l. Communicates in appropriate manner: Talks with
others in an acceptable manner; does not use inappropriate
language.

2. Initiates interaction: Begins interaction with
others without being prompted.

3. Takes turns and shares: Offers or allows others to
use materials being used without inappropriate behavior
such as yelling, crying, or hitting.

61

 

r-

 

 

158
4. Interacts appropriately: Communicates and is able
to be around others with proper behavior; does not act out

in attention-seeking ways, such as yelling or being

physically aggressive.

5. Other: Fill in with relevant information, if

needed.

B. Attention Span/Compliance
l. Responds when name is called: Looks at the speaker

or verbally acknowledges that someone has spoken his/her

name.

2. Responds to defined limits: When limits are set,
acts upon the given limit without oppositional yelling or

aggressive behavior; does not appear to ingore defined

limits.
3. Accepts help from others: Allows others to assist,

either physically or verbally, in task completion.
4. Offers help to others: Volunteers to assist others

when assistance is needed.

5. Asks for help when needed: If unable to complete a

task, seeks assistance from others.

6. Participates appropriately: Participates in tasks

with acceptable behavior; does not make inappropriate

Verbalizations or become physically aggressive.

7. Other: Fill in with relevant information, if

needed.

62

 

159

VI. Auditory Perception Skills

Use the format described in the activities portion of
this manual. While administering these items mark on the
recording form with the following: For correct answers use

+, for incorrect answers use 0, for no response use NR.
These tasks are assessing several things: tempo,

instrument playing, eye—hand coordination, and motor

skills. This is a "practical application" for the purpose

of asessment to aid in treatment planning.

VII. Musical Preferences

Complete this section using your observation of the
assessment session and using information obtained through
an informal interview with the child before and/or after
the assessment session.

A. Instruments: List which instruments the child used
most frequently or made preferential comments about.

B. Styles: List which musical styles the child seemed

to enjoy most or made comments that he/she preferred.

VIII. Activities/Instruments used in the assessment

List the order in which the activities were actually
administered and what instruments were used by you and the
child. If activities were omitted for any reason, list

which ones and why they were omitted.

63

 

 

160

IX. Assessment Summary

The purpose of the assessment summary is to review and
integrate the test findings. Ideally, the report should be
precise, compact, and to the point. If extra space is
required, attach additional pages to the Recording Form.

The summary is a long hand outline of the assessment

session, including such things as relevant quotations from

the child that may help to understand the child's behavior,

behavioral observations of the session, and clinical

impressions of the child. A description of the child's

behavior lends objectivity to the assessment report by
providing the reader with information about what the child
did that led you to form specific impressions. Behavioral
observations may help to account for the child's assessment

results; for instance, it may explain whether the child

failed an item due to poor ability, lack of effort, or

insufficient time. Behavioral observations also may

suggest methods for therapeutic intervention. All
behavioral observations should be written clearly,

describing and interpreting the child's behavior within the

context of the setting in which they are observed.

64

 

 

161
The following is a list of topics regarding the child
that may be included in the summary:
* physical appearance
* reactions to test session and to you
* general behavior
* language style
* general response style
* responses to failures and successes
* responses to encouragement

* attitude toward self, you, and the testing process

>1-

unusual habits, mannerisms, or verbalizations

X. Recommendations

Recommendations are an essential part of the assessment
process. They should be based on the child's level of
overall performance, the child's pattern of strengths and
weaknesses, and the implications of this pattern for
therapeutic intervention, such as group or individual
treatment, or no treatment.

Recommendations should describe realistic and practical
intervention goals and treatment strategies. Factors to

consider and include in the Recommendations are:

65

 

162

* How relevant are the present test results and can they

be generalized?
* What type of intervention program is needed?
* What are some possible goals of the program?

* How can the child's strengths and weaknesses be used

in the treatment programming?

* Are the recommendations feasible given the child's

present situation?
* Are the recommendations written in a clear and

understandable fashion, are they sufficiently detailed, and

can they be easily implemented?

* Is there a need for evaluation in other areas?

Recommendations should enable the therapist to design a
program suitable to the child's needs and level of

functioning. Attach additional pages to the Recording

Form, if additional space is needed. It may be helpful to

list specific recommendations in order of priority. The
highest priority level should address the referral question
in some way. Based on the results of the MTPCA and the

recommendations from the MTPCA, a treatment program for a

child can be more effectively written.

66

 

 

163

REFERENCES

Alley, J. M. (1979). Music in the IEP: Therapy/Education.

Journal of Music Therapy, 16, 111—127.

Diephouse, J. W. (1967). Music therapy: a valuable adjunct
to psychotherapy with children. Journal of Autism and
Childhood Schizophrenia, 42, 75—85.

Hollander, F. M. & Juhrs, P. D. (1974). Orff—Schulwerk, an
effective treatment tool with autistic children.

Journal of Music Therapy, 11, 1-12.

Kessler, J. (1967). Therapeutic methods for exceptional
children. Journal of Music Therapy, 4(1), 1—2.

Mahan, T. & Mahan, A. (1981). Assessing Children with
Special Needs: A practical guide for the use of
psychological, behavioral, and educational measures.
New York: Holt, Rinehart, & Winston.

Music therapy in the treatment of an

Mahlberg, M. (1973).
189-193.

autistic child. Journal of Music Therapy, i9,

Michel, D. E. (1985). Music Therapy: An Introduction,
Including Music in Special Education. Springfield, IL:

Charles C. Thomas.

Nordoff, P. & Robbins, C. (1971). Therapy in Music for
Handicapped Children. London: Victor Gollancz LTD.

(1981). Hap Palmer Favorites: Songs for learning

Palmer, H.
Sherman Oaks, CA: Alfred

through music and movement.
Publishing.

Paul, D. W. (1984). Music therapy for emotionally disturbed
children. In W. B. Lathom & C. T. Eagle (Eds.), Music
therapy for handicapped children (2nd ed.). (pp.
1—59). Lawrence, KS: Meseraull Printing, Inc.

Sattler, J. M. (1988). Assessment of children (3rd ed.).
San Diego: Author.

K. D. (1972). Educational and

Stanley, J. C. & Hopkins,
Englewood

Psychological Measurement and Evaluation.
Cliffs, N.J.: Prentice—Hall.

164

Steele, A. L., Vaughan, M., & Dolan, C. (1976). The school
support program: Music therapy for adjustment problems
in elementary schools. Journal of Music Therapy, 13,

87-100.

& Clark, F. (1969). Music therapy in the

Stevens, E.
Journal of Music

treatment of autistic children.
Therapy, 6, 98-104.

Thaut, M. H. (1984). A music therapy treatment model for
autistic children. Music Therapy Perspectives, 1(4),

7—13.

The practice of music therapy with

Werbner, N. (1966).
Journal of Music Therapy, 3,

psychotic children.
25—31.

68

APPENDIX D

TEACHER'S QUESTIONNAIRE

165

APPENDIX D

TEACHER'S QUESTIONNAIRE

TEACHER' S QUESTIONNAIRE

 

 

 

ID”
Diagnosis:
Date: Signature:
1. Academic Skills
A. Classroom Behavior
1. Sits in assigned area ___never ___rarely ___sometimes ___frequently ___always
___needs prompting
2. Does not interrupt others ___never ___rarely ___sometimes ___frequently ___always
___needs prompting
3. Attends to task ___never ___rarely ___sometimes ___frequently ___always
___needs prompting
4. Follows directions ___never ___farer ___sometimes ___frequently ___always
___needs prompting
5. Completes task independently ___never ___rarely ___sometimes ___frequently ___always
___needs prompting
6. Other: ___never ___rarely ___sometimes ___frequently __~a1ways
___needs prompting
B. Basic Concepts
1. Color identification: ___black ___blue ___brown ___green ___orange
___purple ___red ___white ___yellow
2. Shapes identification: ___square ___circle ___triangle ___diamond
___rectangle ___star ___heart ____octagon
3. Counting, numbers concept counts up ___ to ___
counts down ___ to ___
4. Alphabet, letters concept ___says alphabet ___identifies individual letters
5. Identifies body parts: ___yerbally ___nonverbally
6. Other:

II. Communication Skills
A. Pre—Verbal Expression

1. Makes vocal sounds (list)

 

2. Imitates syllables (list)

 

3. Vocalizes sequence of sounds (list)

 

4. Other:

__——-——————

 

B. Receptive Language

0

U

E.

1. Attends to message/
instructions

2. Makes eye contact
during conversation

3. Responds to message/
instructions

needs prompting

4. Other:

Expressive Language

1. Expresses simple ideas

2. Expresses feelings

3. Expresses wants/needs

4. Expresses with feeling

5. Other:

Vocabulary

1. Verbalizes names of objects

2. Uses verbs/action words

3. Speaks in 1—2 word phrases

4. Speaks in sentences

5. Other

166

never rarely
never rarely
verbally:

never rarely

physically:
ver rarely

never rarely

verbally:

never rarely
nonverbally:

never rarely
verbally:

never rarely
nonverbally:

never rarely
verbally:

never rarely
nonverbally:

never rarely
verbally:

never rarely
nonverbally:

never rarely

never rarely

never ___rarely
never ___rarely
never ___rarely

simple sentences:
never rarely

complex sentences:
never rarely

never rarely

Articulation (note areas of deficiency)

1. Vowels

 

2. Consonants

 

3. Letter combinations

 

4. Other:

 

Teacher's Questionnaire - 2

sometimes

sometimes

sometimes
sometimes

sometimes

___sometimes
___sometimes
___sometimes
___sometimes
___sometimes
___sometimes
___sometimes

sometimes

sometimes

sometimes
sometimes

sometimes
sometimes

sometimes

sometimes

frequently

frequently

frequently
frequently

frequently

___frequently
___frequently
___frequently
___frequently
___frequently
__._frequently
___frequently

frequently

frequently

frequently
___frequently

frequently
frequently

frequently

frequently

alway:

always

always
always

always

___always
___always
___always
___always
___always
___always
___always

always

always

always
always

always
always

always

always

III. Motor Skills
A. Gross Motor Skills

1.

N

LA)

4.

LI!

1.

2.

5.

l.

A.

Beats a steady beat

167

with an instrument:
neve

Teacher's Questionnaire - 3

 

rarely sometimes frequently
other (i.e. clapping, patting):
never rarely sometimes frequently
Claps hands consistent with good sound production:
never rarely sometimes frequently
Completes motor sequences never rarely sometimes frequently
needs prompting
Ambulates smoothly never rarely sometimes frequently
if not, desribe:
Other: never rarely sometimes frequently
B. Fine Motor Skills
Grasps with: right hand:
never rarely sometimes frequently
left hand:
never rarely sometimes frequently
Uses 2 hands independently; never rarely sometimes frequently
favors '
3. Eye-hand coordination; never rarely sometimes frequently
well-demonstrate
4. Uses independent finger never rarely sometimes frequently
movement
Other: never rarely sometimes frequently
IV. Affective Characteristics
A. Self—Concept
Makes positive comments ~__never ___rarely ___sometimes ___frequently
abouts sel
needs prompting
2. Displays pride in work verbally:
never ___rarely ___sometimes ___frequently
nonverbally:
never rarely ___sometimes ___frequently
3. Perseveres at difficult ___never ___rarely ___sometimes ___frequently
tasks
___needs prompting
Gives personal identification ___says name, first and last
other:
5. Maintains eye contact ___never ___rarely ___sometimes ___frequently
___needs prompting
6. Exhibits healthy grooming ___never ___rarely ___sometimes ireqnontly
habits/appearance
Other: never ___rarely ___sometimes frequently

7.

___—__—

_ always
always

always

always
always

always

___always ‘

__always ‘

always
always
always

always

always

always

always

always

always
always

always

168

B. Emotions

l. Actively responds with never rarely
physical &/or facial affect
2. Expresses appropriate verbally:
emotions never rarely
nonverbally:
never rarely
3. Identifies emotions never rarely
4. Identifies situations/ never rarely

examples of different emotions
List which ones:

Teacher's Questionnaire - 4

sometimes

sometimes

sometimes
sometimes

sometimes

 

5. Other: never rarely

V. Social Skills

A. Interaction

w

l. Communicates in appropriate verbally:
manner

never rarely
nonverbally:

never rarely
2. Initiates interaction never rarely
3. Takes turns and shares never rarely

needs prompting

4. Interacts appropriately verbally:

never rarely

nonverbally:

never rarely

5. Other: never rarely

 

Attention Span/Compliance
Responds when name is called never rarely
Responds to defined limits never rarely

Accepts help from others never rarely

l
2
3
4. Offers help to others ___never ___rarely
5. Asks for help when needed ___never ___rarely
6. Participates appropriately ___never ___rarely
7.

Other: never rarely

___——_———

sometimes

sometimes

sometimes
sometimes

sometimes

sometimes

sometimes

sometimes

___sometimes
___sometimes
___sometimes
__fisometimes
___sometimes
___sometimes

___sometimes

frequently

frequently

frequently
frequently

frequently

frequently

frequently

frequently
Frequently

frequently

frequently

frequently

frequently

__frequently
___frequently
____frequently
__“frequently
___frequently
___frequently

frequently

always

always

always
always

always

always

always

always
always

always

always

always

___always

___always
___always
___always
__filways
___always
___always

always

169

Teacher's Questionnaire — 5

VI. Auditory Perception Skills

A. In your opinion, does this student perceive differences or changes in:
l. Timbre

2. Dynamics
3. Pitch
4. Rhythm

5. Tempo

B. In your opinion, is this student able to imitate:

1. Single pitches
2. Simple phrases (melodies)
3. Simple rhythms
4. Dynamic levels

5. Different tempos

In your opinion, does this student respond to music?

Why or why not:

In your opinion, would music therapy be beneficial to this child? (explain)

If music therapy could be recommended for this child, what would be possible

goal areas for intervention?

APPENDIX E

RELIABILITY STATISTICS OF THE MTPCA

170

APPENDIX E

RELIABILITY STATISTICS OF THE MTPCA

STATISTICS KEY
Interscorer Reliability = Reliability between scorers

External Source Reliability
(Learning Disabled)

ll

Reliability between scorers and teacher
evaluations of the learning disabled
subjects
External SOurce Reliability
(Emotionally Impaired & = Reliability between scorers and teacher
Autistically Impaired) evaluations of the emotionally impaired

and autistically impaired subjects

0 = Observers

D—‘

01 = Observer
02 = Observer 2
03 = Observer 3

r = Correlation Coefficient

r_ = Mean Correlation Coefficient
S = Subjects
T = Teacher's Questionnaires Responses

0* = O was used to indicate Not Observed (N/O) or Not Applicable (N/A).
For the purpose of scaling to compute correlations, O was converted

to a score of 1.

error** = Error was used to indicate the correlation coefficient is
considered to be 0, because either the observers or the

teacher used the same rating for each Subject.

171

I. Academic Skills Interscorer Reliability

A.1. Sits in assigned area

 

 

 

S 01 02 03 r01 & 02 r01 & 03 r02 & 03 r?

1 4 4 5 .84 .68 .31 .61

2 5 5 5

3 2 2 4

4 4 4 4

5 4 4 4

6 3 4 3

7 5 4 5

A.2. Does not interrupt others

5 O1 O2 03 r01 & 02 r01 & o3 r02 8. 03 r;
.87 .80 .87 .85

\lONLJ'lbU-JN"
Dbb-DNUI-L‘
bwwbmmb
mbbmeI-L‘

 

bulls

-..;
..

”I“

 

172
I. Academic Skills Interscorer Reliability

A.3. Attends to task

 

 

S 01 O2 03 r01 8 02 r01 8 03 r02 8 03 ri

1 4 3 3 .64 .55 .71 .63
2 4 4 5

3 3 2 3

4 4 3 5

5 4 3 3

6 3 3 3

7 4 4 5

A.4. Follows directions

5 O1 02 03 r01 8 02 r01 8 03 r02 8 03 ri

1 4 3 4 .59 .38 .65 .54
2 5 4 4

3 3 2 3

4 4 3 4

5 4 3 3

6 4 4 3

7 4 5 5

A.5. Completes task independently

S 01 02 O3 r01 8 02 r01 8 03 r01 & o3 ‘—

-.09 .37 .28 -.06

\JONUIDLJONr—I
bbm-Dbbw
bwbwmbw
bNWbDJ>UJ

II. Communication Skills

 

173

Interscorer Reliability

 

 

 

B.1. Attends to message/instructions
S 01 02 O3 r01 8 02 r01 8 03 r02 8 03 r;
l 4 3 4 error** error** .39
2 4 4 4
3 4 2 4
4 4 4 4
5 4 4 3
6 4 3 3
7 4 5 5
B.2. Makes eye contact during conversation
S 01 02 03 r01 8 02 ro1 & o3 r02 8 03 r}
l 4 3 5 .19 .52 —.50 .07
2 3 3 4
3 3 3 3
4 4 4 3
5 3 4 3
6 2 3 3
7 4 3 4
B.3. Responds to message/instructions (verbally)
S 01 O2 03 r01 8 02 r01 8 03 r02 8 03 r;
1 3 4 4 -.26 .35 —.09 —.23
2 4 4 3
3 4 3 4
4 4 4 4
5 4 4 4
6 3 4 3
7 4 4 5

 

174
II. Communication Skills Interscorer Reliability
B.3. Responds to message/instructions (physically)

S 01 02 03 r01 8 02 r01 8 03 r02 8 03 3;

 

** **
error error .26

\IONLn-DUJNH
bbbbbbb
bbw-L‘J-‘wb
mbbbbbl>

 

C.1. Expresses simple ideas (verbally)

S 01 02 O3 r01 8 02 r01 8 03 r02 8 03 ti

 

.60 .73 .56 .63

\lmmwaH
J—‘wwb-bJ—‘w
bNb-bw-L‘N
KflbJ-L‘UIU'Ib-b

C.1. Expresses simple ideas (nonverbally)

s 01 O2 03 r01 & 02 r01 8 03 r02 8 03 ‘—

.26 -.O6 .41 .20

\IO‘Ul-DWNr—d
bWNww-bb
WNWNWUJLO
waWUINW

 

175
II. Communication Skills Interscorer Reliability
C.2. Expresses feelings (verbally)

S 01 02 03 r01 8 02 r01 8 03 r02 8 03 pi

 

.41 -.04 .24 .21

\lONU‘I-bWNH
WWNWNNN
NbJNLQwNN
WNNWDv—Ib

C.2. Expresses feelings (nonverbally)

S 01 02 O3 r01 8 02 r01 8 03 r02 8 03 If

 

0 O .31 .10

\JoxmwaH
bwaNwLo
wbwwbmb
waNwa

C.3. Expresses wants/needs (verbally)

S 01 02 O3 r01 8 02 r01 8 03 r02 8 03 ti

** **
error .66 error

\IONU‘l-bUJNH
wONOWOW
X-
wwwwuwm
bww-DU'ILOD

 

176
II. Communication Skills Interscorer Reliability

C.3. Expresses wants/needs (nonverbally)

 

S 01 O2 03 r01 8 02 r01 8 03 r02 8 03 r;

1 3 3 3 —.42 —.05 .37 —.06
2 2 3 2

3 2 4 5

4 3 3 4

5 2 4 3

6 3 4 3

7 3 3 3

C.4. Expresses with feeling (verbally)

S 01 O2 O3 r01 8 02 r01 8 03 r02 8 03 ri

 

-.23 .32 .57 .22

\lC\U‘I-L‘LA)Nl—‘
wawwa
.5wawa
bNN-PLHNN

C.4. Expresses with feeling (nonverbally)

S 01 02 03 r01 8 02 r01 8 03 r02 8 03 r;

.48 .19 .23 .30

\lO‘U‘lwaD—I
b-DNWUJUJW
w-bNN-bN-D
J—‘NNbU-r—‘N

177
II. Communication Skills Interscorer Reliability

D.1. Verbalizes names of objects

 

 

s o
1 02 03 r01 8 02 r01 8 03 r02 8 03 ti
1 3 3 3 .20 .64 .65 .50
2 5 3 3
3 5 4 5
4 5 4 5
5 4 4 4
6 3 4 3
7 5 4 4
D.2. Uses verbs/action words
S 01 02 03 r01 8 02 r01 8 03 r02 8 03 fig
1 3 2 2 .87 .87 .74 .83
2 4 3 4
3 4 3 5
4 4 4 5
5 4 4 3
6 3 2 1
7 4 4 5

D.3. Speaks in 1-2 word phrases

s 01 02 O3 r01 8 02 r01 8 03 r02 8 03 E

 

-.20 .32 —.62 —.17

\1 0 km $> u: N H
b~ £~ on w w w b
s~ N w b~ u N N
(» b~ s~ c> ¢~ o> a~

l”

 

178
II. Communication Skills Interscorer Reliability

D.4. Speaks in sentences (simple sentences)

 

 

S 01 O2 03 r01 8 02 r01 8 03 I02 8 03 r}

1 l 1 1 .68 .86 .53 .69
2 4 3 3
3 4 2 5
4 4 4 4
5 3 4 3
6 2 1 2
7 3 3 4

D.4. Speaks in sentences (complex sentences)

S O 0 ' 0 r r r r_

l 2 3 01 & 02 01 & O3 02 & 03 X

.77 .41 .40 .53

\lcxmbWNH
wr—IwwHNr-u
bf—‘bNr—‘vbr—I
WHNNWNr—I

179
III. Mbtor Skills Interscorer Reliability

A.1. Beats a steady beat (with an instrument)

 

s 01 02 03 . r01 8 02 r01 8 03 r02 8 03 ti
1 3 1 4 .83 .59 .61 .68
2 4 4 4
3 2 1 4
4 3 2 4
5 3 1 3
6 4 5 4
7 5 5 5

A.1. Beats a steady beat (other,i.e., clapping, patting)

 

 

S 01 O2 03 r01 8 02 r01 8 03 r02 8 03 ti
1 3 1 4 .61 .38 —.16 .28
2 4 4 4
3 2 1 3
i:
4 3 2 o
7':
5 0* 1 o
9':
6 4 4 o
7':
7 4 o 4
A.2. Claps hands
S 0 0 0 r 02 r01 8 03 r02 8 03 f—
1 2 3 01 8 x
—.40 .50 .23 .11

\IO\U14-\L~>N|—‘
bbbmu—ubb
wwNNNNN
b-D-bm-DLAOX-

180
III. Mbtor Skills Interscorer Reliability

A.3. Completes motor sequences

 

 

S 01 02 03 ro1 & 02 r01 8 03 r02 8 03 ti

1 4 3 3 -.19 .23 .47 .17

2 5 3 4

3 4 3 5

4 4 4 5

5 4 3 4

6 3 4 4

7 5 4 5

A.4. Ambulates smoothly

S 01 O2 O3 r01 8 02 r01 8 03 r02 8 03 Ii
-.19 .85 .14 .27

\lO‘U1J-\U)NI—I
bwwbbmb
bwuwmbw

 

 

 

181
III. Motor Skills Interscorer Reliability
B.1. Grasps with: (right hand)

5 O1 02 03 r01 8 02 r01 8 03 r02 8 03 pi

 

** **
error error 0

\I ox Ln -b u> 83 .d
D- a~ b~ p- b- D~ b
w b~ D- b .5 U! D
-D p~ p~ U1 u: b~ b

B.1. Grasps with: (left hand)

S 01 02 O3 r01 8 02 r01 8 03 r02 8 03 ti

 

.68 —.O9 -.37 .07

VO‘U‘IbLANr—I
bwwbwbb
bwuwwmm
b-D-DU'IUI-bb

B.2. Uses 2 hands independently

r

S 01 O2 03 r01 8 02 r01 8 03 r02 8 03 E

.50 .55 -.28 .25

VO‘U’IbWNE—d
b— u: s~ s~ ¢~ ¢~ o3
D~ o1 c~ u: u: U1 6:
kJ‘Ib-l-‘U'lU'lb-b

 

 

182
III. Motor Skills Interscorer Reliability
B.3. Eye—hand coordination; well-demonstrated

S 01 02 03 r01 8 02 r01 8 03 r02 8 03 r;

 

.17 .64 .36 .39

\IOLn-Dri—I
LII-L‘UJDU‘IhD
bbNNNU’IW
mm-L‘LnU'IU'I-L‘

B.4. Uses independent finger movement

S 01 02 03 r01 8 02 r01 8 03 r02 8 03 r;

 

—.25 .47 .03 .08

Vombwmw
59059-45545
bbtowwmo
>1-
U14-\-$-\U‘IU1-L\4-\

 

 

183
IV. Affective Characteristics Interscorer Reliability

A.1. Makes positive comments about self

 

S 01 O2 O3 r01 8 02 r01 8 03 r02 8 03 ‘8
1': *

1 o 1 o .55 .93 .51 .66
* *

2 o o 1
‘k *

3 0 2 o
* :‘c

4 0 2 o

5 2 2 2

6 1 1 1

7 2 2 3

A.2. Displays pride in work (verbally)

 

 

S 01 O2 O3 r01 8 02 r01 8 03 r02 8 03 fig

1 1 1 1 .54 .41 .50 .48

2 3 3 2

3 2 2 2

4 2 2 3

5 1 3 2

6 1 1 1

7 2 2 3

A.2. Displays pride in work (nonverbally)

s 01 02 O3 r01 8 02 r01 8 03 r02 8 03 ti

o .71 —.54 .06

\lChUI-DUJNI—I
LDUONLQDNUJ
DJDUJUJLJWN
bLa-JUJDDWD

 

IV. Affective Characteristics

184

A.3. Perseveres at difficult tasks

 

Interscorer Reliability

 

 

 

S 01 02 03 r01 8 02 r01 8 03 r02 8 03 rg
1 4 3 3 .64 .57 .92 .71
2 4 4 3
3 2 2 2
4 4 3 3
5 3 3 3
6 4 3 3
7 4 5 5
A.5. Maintains eye contact
S 01 02 O3 r01 8 02 r01 8 03 r02 8 03 ri
1 4 3 4 —.13 .60 .23 .23
2 3 4 4
3 4 2 3
4 4 3
5 3 3 3
6 2 3 2
7 4 3 4
A.6. Exhibits healthy grooming habits/appearance
s 01 02 03 r01 8 02 r01 8 03 r02 8 03 ti
1 3 3 4 .47 .26 .55 .43
2 5 4 5
3 5 3 4
4 5 4 5
5 5 4 4
6 5 3 4
7 5 4 4

IV. Affective Characteristics

185

 

 

Interscorer Reliability

B.1. Actively responds with physical &/or facial affect

 

 

 

S 01 02 03 r01 8 02 I01 8 03 r02 8 03 If
1 3 4 2 .71 .81 .26 _59
2 2 3 2
3 4 4 5
4 4 4 4
5 3 3 4
6 3 4 3
7 4 4 4
B.2. Expresses appropriate emotions (verbally)
S 01 02 03 r01 8 02 r01 8 03 r02 8 03 ri
1 3 2 4 —.68 -.69 - 72 -.70
2 4 1 1
3 4 2 3
*
4 0 4 5
5 3 4 4
6 3 3 2
7 3 4 4
B.2. Expresses appropriate emotions (nonverbally)
S 01 02 03 r01 8 02 r01 8 03 r02 8 03 r?
1 4 4 4 —.17 .55 .54 .31
2 4 3 2
3 3 4 3
4 5 4 5
5 3 4 2
6 3 4 4
7 4 4 5

186
IV. Affective Characteristics Interscorer Reliability

B.3. Identifies emotions

 

 

5 O1 02 O3 r01 8 02 r01 8 03 r02 8 03 r;
1': *
1 0 o 5 .34 -.61 .13 —.04
k
2 4 o 2
* *
3 0 o 4
3':
4 0 4 5
5 4 4 5
6 3 3 4
7 4 4 2
B.4. Identifies situations/examples of different emotions
S 01 O2 03 r01 8 02 r01 8 03 r02 8 03 r;
.74 .83 .78 .78

\JO‘xLflbLaJNI—t
NN-ban‘INN
[9wawa
NNU‘l-bbNUJ

 

 

 

187
V. Social Skills Interscorer Reliability

A.1. Communicates in appropriate manner (verbally)

 

S 01 02 03 r01 8 02 r01 8 03 r02 8 03 ti
1 3 2 4 .69 .15 .07 .30
2 4 3 3

3 4 3 3

4 4 3 5

5 4 4 3

6 3 3 3

7 4 4 5

A.1. Communicates in appropriate manner (nonverbally)

 

 

S 01 O2 O3 r01 8 02 r01 8 03 r02 8 03 PE

1 4 3 4 —.65 —.35 .55 —.15

2 3 3 3

3 4 3 2

4 4 3 3

5 4 3 3

6 4 3 3

7 3 4 4

A.2. Initiates interaction

S 01 02 03 r01 8 02 r01 8 03 r02 8 03 r}

.26 .35 .09 .23

\lChUibLAJNH
wwwhbbw
wabwww
LONNWDNLO

 

 

V. Social Skills

A.3. Takes turns and shares

188

 

Interscorer Reliability

 

 

 

S 01 O2 O3 r01 8 02 r01 8 03 r02 8 03 3
l 4 3 3 error** error** .37

2 4 4 4

3 4 2 4

4 4 4 4

5 4 3 4

6 4 4 4

7 4 4 5

A.4. Interacts appropriately (verbally)

S 01 O2 03 r01 8 02 r01 8 03 I02 8 03 r?
l 4 3 4 .42 .60 35 .46
2 4 3 4

3 4 2 4

4 4 3 5

5 4 4 4

6 3 3 4

7 5 4 5

A.4. Interacts appropriately (nonverbally)

S 01 O2 03 I01 8 02 r01 8 03 r02 8 03 ri
1 4 3 3 0 -.17 .76 .20
2 3 3 4

3 4 2 3

4 4 3 4

5 4 3 4

6 4 3 3

7 4 4 5

 

189

V. Social Skills Interscorer Reliability

B.1. Responds when name is called

 

S 01 02 03 :01 8 02 r01 8 03 r02 8 03 pi
1 4 3 5 error** error** .62

2 4 4 5

3 4 3 4

4 4 4 5

5 4 3 4

6 4 3 3

7 4 5 5

B.2. Responds to defined limits

 

 

S 01 O2 O3 r01 8 02 r01 8 03 r02 8 03 ti

1 3 3 4 .83 .55 .83 .74

2 4 4 4

3 3 2 3

4 4 3 4

5 4 3 3

6 3 3 4

7 5 5 5

B.3. Accepts help from others

3 01 02 03 r01 8 02 r01 8 03 r02 8 03 ti

.73 .74 .85 .77

\!O\U1-l—\L;JNP-'
bbwwuwb
mJ-‘wwmbb
u: D~ 2~ ¢~ o; £~ U1

I"

V. Social Skills

B.4. Offers help to others

0

0

0

190

Interscorer Reliability

 

 

 

s
1 2 3 r01 8 02 r01 8 03 r02 8 03 r}
* *
1 o 3 o .49 74 — 1o 38
2 3 3 2
* 7k
3 o 2 o
4 4 3 4
5 3 3 3
*
6 o 3 1
* *
7 0 o 3
B.5. Asks for help when needed
S 01 O2 03 r01 8 02 r01 8 03 r02 8 03 ti
* *
1 o 2 o -.11 1 00 —.11 26
5k 3':
2 o 1 o
3 2 2 2
* *
4 o 1 o
* *
5 0 2 o
6 2 2 2
*
7 3 o 3
B.6. Participates appropriately
S 01 O2 O3 r01 8 02 r01 8 03 r02 8 03 r;
1 4 4 3 .60 .70 .52 .61
2 4 4 4
3 3 2 3
4 4 3 4
5 4 3 3
6 2 3 3
7 5 4 5

I“

 

I. Academic Skills

A.1. Sits in assigned area

 

 

S O T r
**
1 4 4 error
2 4 3
3 4 4
A.3. Attends to task
r
**
error

WNt—‘m

A.5. Completes

wwwo

«PW-bk]

r

 

WNI—‘UJ

u) h~ w o

.50

bob-DH

191

External Source Reliability
(Learning Disabled)

A.2. Does not interrupt others

r

 

**
error

LAND—'U)
D~ D~ D- o
c~ u: u: H

A.4. Follows directions

r

—.50

 

wNv—‘m
Loki-‘0
boa-{>14

task independently

192

II. Communication Skills

B.1. Attends to message/instructions

**
error

WNb—‘UJ
45be
b- D‘ U! H

B.3. Responds to message/
instructions (verbally)

r

**
error

w N H m
e~ c~ p~ o
U) U) 9* H

C.1. Expresses simple ideas

 

(verbally)
S O T r
1 3 4 O
2 4 5
3 4 3

C.2. Expresses feelings

 

(verbally)
S O T r
l 2 2 1.00
2 3 3
3 2 2

External Source Reliability

(Learning Disabled)

B.2. Makes eye contact during

 

conversation
S O T r
1 4 4 1.00
2 4 4
3 3 3

B.3. Responds to message/

W N H m

instructions (physically)

r

**
error

D~ 3‘ D- O
b N H H

C.1. Expresses simple ideas

 

(nonverbally)
S O T r
**
1 3 4 error
2 3 5
3 3 4

C.2. Expresses feelings

 

(nonverbally)
S O T r
1 4 4 .50
2 3 4
3 3 3

II. Communication Skills

C.3. Expresses wants/needs
(verbally)

 

**
error

LDNP—‘CD
WWWO
bmJ-‘r-i

C.4. Expresses with feeling
(verbally)

 

.76

WNI—IU)
NWNO
NU1J-\D-3

 

193

External Source Reliability
(Learning Disabled)

C.3. Expresses wants/needs

 

(nonverbally)
S O T r
**
1 3 4 error
2 3 4
3 3 4

C.4. Expresses with feeling
(nonverbally)

r

.50

 

ri—‘m
NNWO
LAJ-PDH

.1-

 

194

External Source Reliability
(Learning Disabled)

II. Communication Skills

 

 

D.1. Verbalizes names of objects D.2. Uses verbs/action words
S O T r S O T r

1 3 3 1.00 1 2 2 .76

2 3 5 2 4 5

3 4 4 3 4 3
D.3. Speaks in 1-2 word phrases D.4. Speaks in sentences

(simple sentences)

r

.99

 

.87

wNv—‘UJ
u: u: b~ O
waH
LAND—'0)
wbI—IO
J-\U1|—‘1—3

D.4. Speaks in sentences
(complex sentences)

r

.33

m N H m
ri—‘O
N b H H

III. Motor Skills

A.1. Beats a steady beat
(with an instrument)

 

 

S O T r
l 3 3 error**
2 3 3
3 3 3
A.2. Claps hands
r
**
error

U) N H m
u) 3‘ w 0
u) u) u> H

A.4. Ambulates smoothly

r
**
error

m N H m
wwwo
w N 1» H

195

External SOurce Reliability
(Learning Disabled)

A.1. Beats a steady beat (other,
i.e., clapping, patting)

r

 

**
error

w N H m
H N (& O
w w w H

A.3. Completes motor sequences

r

 

**
error

w M H m
D~ P‘ u> O
u: u) w H

196

External Source Reliability
(Learning Disabled)

III. Motor Skills

 

 

B.1. Grasps with: right hand B.1. Grasps with: left hand
5 O T r S O T r
**
1 4 4 error 1 4 2 .50
2 4 2 2 4 4
3 4 4 3 3 2
B.2. Uses 2 hands independently B.3. Eye-hand coordination;

well-demonstrated

r

—.50

 

 

—.49

w N H m
w D~ u: c
w w b .4
u N H m
C) c~ p~ o
u N w H

B.4. Uses independent finger
movement

—.99

m N H m
¢~ D- u) o
N N 4» a

197

External Source Reliability
(Learning Disabled)

IV. Affective Characteristics

 

 

 

 

 

 

A.1. Makes positive comments A.2. Displays pride in work
about self (verbally)
S O T r S O T r
1 l 3 -.99 1 l 3 O
2 1 3 2 2 4
3 2 2 3 2 2
A.2. Displays pride in work A.3. Perseveres at difficult
(nonverbally) tasks
S O T r S O T r
** **
1 3 4 error 1 3 3 error
2 3 3 2 3 4
3 3 3 3 3 3
A.5. Maintains eye contact A.6. Exhibits healthy grooming
habits/appearance
S O T r S O T r
1 4 4 1.00 1 3 5 -.87
2 4 4 2 5 3
3 3 3 3 4 3

1

 

198

External Source Reliability
(Learning Disabled)

IV. Affective Characteristics

B.1. Actively responds with physical B.2. Expresses appropriate

 

 

 

 

 

&/or facial affect emotions (verbally)
S 0 T r S O T r
**
1 3 4 .50 l 3 3 error
2 4 4 2 4 3
3 3 2 3 4 3
B.2. Expresses appropriate B.3. Identifies emotions
emotions (nonverbally)
S O T r S O T r
* **
1 4 4 .87 1 0 4 error
2 5 4 2 4 4
3 3 3 3 4 4

B.4. Identifies situations/

examples of different

 

emotions
S O T r
1 2 2 1.00
2 4 3
3 4 3

 

External Source Reliability
(Learning Disabled)

V. Social Skills

 

 

 

 

 

 

 

A.1. Communicates in appropriate A.1. Communicates in appropriate
manner (verbally) manner (nonverbally)
S O T r S O T r
**
1 3 3 error 1 4 4 1.00
2 4 3 2 3 3
3 4 3 3 3 3
A.2. Initiates interaction A.3. Takes turns & shares
S O T r S O T r
1 3 3 .87 1 3 4 —.SO
2 4 4 2 4 3
3 3 2 3 4 4
A.4. Interacts appropriately A.4. Interacts appropriately
(verbally) (nonverbally)
S O T r S O T r
**
l 4 3 error 1 3 4 -.99
2 4 3 2 4 3
3 4 3 3 4 3

 

200

External Source Reliability
(Learning Disabled)

V. Social Skills

 

 

 

 

 

 

B.1. Responds when name is called B.2. Responds to defined limits
S O T r S O T r
**
1 4 5 error 1 3 5 —.99
2 4 4 2 4 3
3 4 5 3 3 5
B.3. Accepts help from others B.4. Offers help to others
S O T r S O T r
1 4 5 1.00 1 2 4 O
2 3 4 2 4 4
3 3 4 3 3 3
B.5. Asks for help when needed B.6. Participates appropriately
r r
.50 -.49

wNHm
H H N o
4...)be
wNHU:
bob-DO
bw4>1—3

201

External Source Reliability
(Emotionally Impaired &
Autistically Impaired)

I. Academic Skills

 

 

 

 

 

 

A.1. Sits in assigned area A.2. Does not interrupt others
S O T r S 0 T r
1 5 4 — l9 1 5 3 .19
2 2 5 2 5 5
3 3 4 3 4 2
4 5 5 4 4 5
A.3. Attends to task A.4. Follows directions
S O T r S O T r
1 4 3 -.26 1 4 4 O
2 4 2 2 3 5
3 3 4 3 4 4
4 4 5 4 5 5

A.5. Completes task independently

waH-U)
J-‘Ln-b-l-‘O
U1 b~ N -b a

lil-

 

202

II. Communication Skills

B.

1. Attends to message/instructions

 

DWNI—‘UJ

U1 u> p- D- c
U1 u: u: b- H

B.3. Responds to message/

b~ w N H m

instructions (verbally)

r

.87

:~ u: £~ b~ o
u: u> £~ u: H

C.1. Expresses simple ideas

 

(verbally)
S O T r
1 3 4 .13
2 3 5
3 3 2
4 4 4

 

External Source Reliability
(Emotionally Impaired &
Autistically Impaired)

B.2. Makes eye contact during
conversation

 

bWND—IU}

bwwwo

J-‘wKnUli—l

B.3. Responds to message/
instructions (physically)

bWNl—‘Ul

c~ c~ p~ p~ o

r

id:
error

(“J-\U'Iu-IP—l

C.1. Expresses simple ideas

 

(nonverbally)
S O T r
1 3 1 O
2 3 5
3 2 1
4 4 1

Ilb

 

 

 

External Source Reliability
(Emotionally Impaired &
Autistically Impaired)

II. Communication Skills

 

 

 

 

 

 

C.2. Expresses feelings C.2. Expresses feelings
(verbally) (nonverbally)
S 0 T r S O T r
1 2 4 -.33 1 2 1 .90
2 3 4 2 3 1
3 3 1 3 4 2
4 3 4 4 4 2
C.3. Expresses wants/needs C.3. Expresses wants/needs
(verbally) (nonverbally)
S O T r S O T r
1 3 5 error** 1 2 1 0
2 3 5 2 4 l
3 3 5 3 3 4
4 3 5 4 3 4
C.4. Expresses with feeling C.4. Expresses with feeling
(verbally) (nonverbally)
S O T r S O T r
l 2 2. .52 l 3 1 .47
2 4 4 2 4 l
3 2 4 3 4 2
4 2 3 4 4 4

204
External Source Reliability
(Emotionally Impaired &
Autistically Impaired)

II. Communication Skills

 

 

D.1. Verbalizes names of objects, D.2. Uses verbs/action words
S O T r S 0 T r
** **

1 3 5 error 1 4 5 error

2 5 5 2 4 5

3 3 5 3 2 5

4 4 5 4 4 5
D.3. Speaks in 1-2 word phrases D.4. Speaks in sentences

 

(simple sentences)

r

1.00

 

**
error

waHC/J

bbwwo

LHU'IU‘UIH
wab—‘C/J
mmwwo
LAWUIU'II—l

D.4. Speaks in sentences
(complex sentences)

r

.78

waHm
wHNwO
bHU’IUIH

 

205

External Source Reliability
(Emotionally Impaired &
Autistically Impaired)

III. Motor Skills

 

 

 

 

A.1. Beats a steady beat A.1. Beats a steady beat (other,
(with an instrument) i.e., clapping, patting)
S O T r S O T r
1 4 2 .66 1 4 4 .58
2 2 2 2 2 2
3 4 2 3 4 2
4 5 4 4 4 4
A.2. Claps hands A.3. Completes motor sequences
S O T r S O T r
1 3 4 .58 l 3 2 .82
2 3 2 2 4 4
3 4 2 3 4 2
4 4 4 4 5 5

A.4. Ambulates smoothly

 

waI—Im
b~ w w b~ O
bN-bNr—l

206
External Source Reliability
(Emotionally Impaired &
Autistically Impaired)

III. Motor Skills

 

 

B.1. Grasps with: right hand B.1. Grasps with: left hand
S O T r S O T r

1 4 5 error** 1 4 1 —.17

2 4 5 2 4 1

3 4 3 3 3 3

4 4 5 4 4 5
B.2. Uses 2 hands independently B.3. Eye-hand coordination

well-demonstrated

r

.58

 

-.33

waHm
#4»be
UIUIb—‘UIH
waH-m
mbbmo
UIUJUIU'IH

B.4. Uses independent finger
movement

r

error**

Dri—im
Dbbbo
UIwUIU'lt—l

207

IV. Affective Characteristics

A.1. Makes positive comments

 

about self
S O T r
1 1 1 .82
2 2 2
3 1 1
4 2 4

A.2. Displays pride in work

 

(nonverbally)
S O T r
1 3 4 error**
2 4 4
3 3 4
4 3 4

A.5. Maintains eye contact

Doctor—4m

.65

DNUJWO
b to -b -b a

External Source Reliability
(Emotionally Impaired &
Autistically Impaired)

A.2. Displays pride in work

(verbally)

 

DWNP-‘UJ

NI—‘UJUJO
UlJ-‘NNH

A.3. Perseveres at difficult

 

tasks
S O T r
1 4 4 .78
2 2 1
3 3 1
4 5 3

A.6. Exhibits healthy grroming

 

habits/appearance
S O T r
1 5 3 -.58
2 4 5
3 4 3
4 4 5

 

208

External Source Reliability
(Emotionally Impaired &
Autistically Impaired)

IV. Affective Characteristics

B.1. Actively responds with physical B.2. Expresses appropriate

 

 

 

&/or facial affect emotions (verbally)
S 0 T r S 0 T r
1 3 l .95 1 2 1 .96
2 4 4 2 3 3
3 3 2 3 3 2
4 4 5 4 4 5
B.2. Expresses appropriate B.3. Identifies emotions

emotions (nonverbally)

r

.30

 

 

.43

waHm
54>me
waNv—l
bUJNv-‘ED
waWr-i
wHNI—‘O

B.4. Identifies situations/
examples of different

 

emotions
S 0 T r
l 2 3 0
2 4 2
3 2 1
4 2 2

 

209
External Source Reliability
(Emotionally Impaired &
Autistically Impaired)

V. Social Skills

 

 

 

 

 

 

A.1. Communicates in appropriate A.1. Communicates in apprOpriate
manner (verbally) manner (nonverbally)
S O T r S O T r
1 3 3 .58 1 3 2 error**
2 3 2 2 3 - 2
3 3 3 3 3 2
4 4 3 4 4 2
A.2. Initiates interaction A.3. Takes turns and shares
8 O T r S O T r
l 3 3 error** 1 4 2 error**
2 4 3 2 4 5
3 2 3 3 4 3
4 3 3 4 4 4
A.4. Interacts appropriately A.4. Interacts appropriately
(verbally) (nonverbally)
S O T rA S O T r
1 3 2 .85 l 3 2 —.33
2 4 3 2 3 3
3 3 3 3 3 2
4 5 4 4 5 2

210

 

External Source Reliability
(Emotionally Impaired &
Autistically Impaired)

V. Social Skills

 

 

 

 

 

 

B.1. Responds when name is called B.2. Responds to defined limits
S O T r S O T r

1 4 5 error** 1 4 4 .30

2 4 5 2 3 5

3 3 5 3 3 4

4 5 5 4 5 5
B.3. Accepts help from others B.4. Offers help to others

S O T r S O T r

1 4 2 O l 3 2 -.36

2 3 5 2 1 2

3 4 4 3 2 1

4 5 5 4 3 5
B.5. Asks for help when needed B.6. Participates appropriately
S O T r S O T r

1 l 2 .65 1 4 4 .95

2 2 l 2 3 2

3 2 1 3 2 2

4 3 5 4 5 5

REFERENCES

211

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American Psychiatric Association. (1987). Diagnostic and
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Boone, P. (1980). Procedure manual for the administration
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Boone, P. (1980). D.A.M.R.E.B. Score Sheet. Unpublished
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Boxill, E. H. (1985). Assessment and treatment planning. In
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Braswell, C., Brooks, D. M., Decuir, A., Humphrey, T.,
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Bruscia, K. E. (1987). Improvisational models of music
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Carter, S. A. (1984). Music therapy for mentally retarded
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Cohen, G. & Gericke, O. L. (1972). Music therapy
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Crocker, D. B. (1968). Clinical experiences with
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Diephouse, J. W. (1967). Music therapy: a valuable adjunct
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Dickinson, P. I. (1976). Music With ESN Children: A Guide
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Goodwin, W. L. & Driscoll, L. A. (1980). Handbook for
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Henry, D., Knoll, C. D., & Anderson, S. E. (1982). Music
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Hollander, F. M. & Juhrs, P. D. (1974). Orff—Schulwerk, an
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James, M. R. (1986). Utilization of motor skills
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Kelly, E. L. (1967). Assessment of Human Characteristics.
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Kessler, J. (1967). Therapeutic methods for exceptional
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Mahan, T. & Mahan, A. (1981). Assessing Children with
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Mahlberg, M. (1973). Music therapy in the treatment of an
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Michel, D. E. & Rohrbacher, M. (Eds.). (1982). The Music
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National Association for Music Therapy, Inc. (1987).
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