- Good evening and thank you for joining us tonight in our fifth and final webinar in the series on New Orleans Music and Art and Special Education. Tonight's topic, Join the Second Line: Adapting Movements and Mobility Devices in the Classroom. And before we get started, I just wanted to go over a few features of our Zoom and then we'll dive right into the content. And I wanna thank you again for being here tonight. We're so glad you're here to learn with us. First step we have the mute feature. If you could please stay muted while the panelists are speaking, we are going to have so many amazing moments for participations and opportunities to ask questions but if possible, please keep your microphone muted while the panelists are speaking. We also have the start video feature. We'd love to see everyone's faces from wherever you are. So there will be a moment for you to show your faces and join in if you choose. We also have the chat box feature. That is a great place for you to engage with the panelists, ask questions and also see some of the resources that our guest, Mary from Preservation Hall Foundation will be dropping in for you to save and access later. We also have the live transcript option that you can turn on and you can expand your screen if you are on a desktop or laptop device. Okay, so now for a few stage introductions, this is your opportunity to turn your camera on and say hello to our community of learners here. I will start, we have a chat box feature where you will be able to participate. But first, my name is Pam Blackmon, I'm with the Preservation Hall Foundation. I am an African American woman with black curly hair. I have a floral plant blouse on, in my background you will see some abstract art. In this chat box we'll ask your name, nickname or stage name, if you're an artist, the city that you represent and the song that gets your body moving. So in the chat box, just throw in there, your name and I'll start. My name is Pam, some my friends call me Jimmy Pammy and I live here in New Orleans and my song to get me moving is Happy by Pharrell. And welcome everyone. Next up, I'd like to introduce you to our ASL interpreter for the night Ms. Laura Sicgnano. You can pin Laura in the participants tab if you'd like. And next step, we'll introduce our panelists this evening. We have a really wonderful group of experienced music lovers, art lovers, educators with us tonight. We'll begin with Mr. Will Smith who is a self-contained special education teacher and trumpeter at Preservation Hall. We have Meredith Sharpe, a neurologic music therapist. Dr. Felicia Lively, a music education teacher and arts advocate. Melinda Ford, an instrumental music teacher and saxophonist. And we will let Mr. Will Smith take it away with our welcome.

- Well, like the welcome everyone and thank you all for joining us. I'm coming here from the historic Preservation Hall, place of not only such historical importance but also very important to the music scene today. I am an African American man, I have short mingle gray hair, I'm wearing a blue and white plaid shirt. And I'm here tonight to enjoy and help to enlighten you all on all the beautiful aspects of movement of music. So welcome. We will start by telling you our agenda for tonight. Tonight's agenda includes policy, advocacy and representation, instrumental music, movement and the brain, general vocal music classrooms, and experiential: join the second line, we have a resources and strategies page and at the end, we'll have a Q&A where you can join in and pitch your questions to all the panelists. So right about now I think, Ms. Melinda Ford is gonna take us into the first part of our agenda, policy, advocacy and representation. Take it away Ms. Ford.

- Thank you so much, Mr. Smith. My name is Melinda Ford and I am an African American woman, I have a short, teeny weeny Afro. I have on a clear flirting cat eye glasses. And I have on a Kelly Green shirt. I am here in my home in Maryland, where I am sitting in my music studio. Without any further ado, I wanna ask you a question. Do you recognize anyone that is in this particular frame here? Any musician, artists on this particular picture that you can see? You can put it in the chat, it'd be great. Okay. Thank you for participating. I'm trying to read this chat over here. That's why you see my eyes over to the right hand side. So I'm quite sure that it was easy to recognize some of the musicians, composers and artists that you listened to throughout the years but have you ever stopped to think if any one of these individuals had a disability or better yet a differing ability? It's real easy to recognize persons, in particular, these musicians who have a physical disability with Mr. Ray, Charles and Mr. Matthew Whitaker but the others you can't see so readily, correct? Can we please go to the next slide? When you talk about famous musicians with differing abilities, you're talking about, in the first on the left hand side and the left corner for the frame we just left, Travis Meeks is a guitarist that's on the autism spectrum. There's a band in Europe called The AutistiX, in order to be a participant in the band, you have to be a musician and you have to have autism. Of course we saw Mr. Ray Charles but Matthew Whitaker was the other pianist that was in the slide right before it. But as I was doing my research, I didn't know that Art Tatum, famous jazz pianist was legally blind. When we hear musicians, we don't necessarily think of their differing ability or their disability, right? And so when we hear the famous violinist Itzhak Perlman, or David Sandborn or when you look at Toni Braxton, the singer, you don't think disability, you hear the music that comes from their voice and the music that comes from that instrument because there are differing abilities. Of course, these individuals that you saw on the slide before, we had talked about autism, we had talked about blindness, we talked about physical disabilities, mental illness is considered disability. Nina Simone, a famous singer, pianist and activist. When we say speech and language as a differing ability, Adam Levine and Solange Knowles have ADHD. And Jewel as Tony Bennett have dyslexia. Now there are other differing abilities that students have. But one thing that everyone has on both sides is their love of music. Can we go to the next slide? Music is one of those things that makes you part of the human community, correct? So it's wonderful to be able to participate as a musician or as a singer, whether it's professionally, amateurly or you're just learning, you love to sing in the church or temple, mosque, synagogue or things of that nature but being a musician or raising your voice in music is very, very, very important to the human race. So Melinda, why are you talking about advocacy? Or why is this slide on advocacy and what does that have to do with adaptive movement? So adaptive movement is a large part of teaching students with differing abilities and mobility devices is a large part of teaching students with differing abilities. So I wanted to talk about advocacy because if it were not for policies that were put in place over time students with differing abilities would not have the opportunity to participate in education and in certain areas of life, if it were not for legislation that went forth. So the Students with Disabilities Act, IDEA and Section 504 prohibits discrimination on the basis of disability in programs and activities that receive federal financial assistance from the US Department of Education, what does that mean? That as long as students are participating in education, whether that's pre-K all the way up through college or from college on, the United States government helps to fund that system to assure that there are adequate teachers, adequate devices to help students learn adequate books and textbooks for that. And it extends into the Americans with Disabilities Act that went into law in 1990. So if it were not for the Civil Rights Act that came before all of this in 1965, we wouldn't have a lot of these particular laws but this particular law is part of civil rights law that prohibits discrimination against individual's disabilities in areas of public life, including jobs, schools, transportation and all public and private places that are open to the general public. Now, of course, we wouldn't have to advocate for our students or for our neighbors or for our colleagues or for our children if it were not for discrimination. And what I like about this essay by Dr. Dafina-Lazarus Stewart, is that Dr. Stewart adds a personification concept to these terms. So what are you saying, Melinda? For example, diversity asks who's in the room. In my case, in the band room, in the orchestra and equity is going to respond who's trying to get into the room but cannot? Who's presence in the room is under constant threat of eraser? Now I'm not gonna read the whole thing but when we're thinking about inclusion, a lot of the laws or the advocacy policies that we have in place make sure that students with differing abilities have the same opportunity to participate in general music and instrumental music classes and to be a part of the educational process in its totality. So when we're talking about inclusion, have every student's ideas been heard? Has everyone's concepts and opinions actually been taken seriously? And justice is gonna respond here and it's gonna say who's ideas won't be taken seriously or as serious because they're not part of the majority? If I want my instrumental music program to go, especially after this year we've had in the pandemic, I need to make sure that all students are included in my program. And one of the great things about teaching in the United States, in particular in Maryland where I teach is that before we actually get an opportunity to start teaching, by law we have to sit down. When I say we, teachers, all teachers not just teachers of students with differing abilities but every teachers that's gonna come in contact with that student and we have to make time to understand each student's strengths so that we can teach to their strengths so that they can be successful. And if we want music and music education to continue to go on, we have to make sure that we understand every student's differing abilities and make sure that they have success. Why is this very important? Because representation matters. Now, when we think of students with differing abilities and disabilities, we didn't necessarily think of Tony Bennett or Ray Charles or those other musicians, Wolfgang, Amadeus, Mozart, who's on the autism spectrum. But I think it's very, very important that we talk about them. Can we go to the next slide?

- I agree, Melinda, I definitely agree. And I'm just hearing you and not only does it incite us to think about things but what you're saying is there's an action step and that action step for success in the music programs is to plan. So Felicia, I would love to hear why you feel that it's important to plan for disability representation in the music programs. I know Melinda said that where she lives it's required but if it's not required, why is it just important to include planning in the process of building a music program?

- Well, now, I'm Felicia Lively. I'm an African American female, senior citizen. I have a short early do and I'm wearing a blue shirt, which looks like it has paint splash on my left shoulder. I have big earrings on so you won't miss me. Anyway, representation is being sure that all students are represented in the classroom is a way to alleviate discrimination and bring about that diversity, that equity, that inclusion, and of course, restorative justice. Now at the classroom level, there are two ways to include everyone. You create social normalization by the acceptance of students and their strengths in the process of teaching and learn. And of course there are adjustments to the music curriculum to be sure that everyone is included. Now, the music curricular objectives for a lot of subjects have become secondary to the needs of students. We have to use our subject and in particular music to help students feel good, good enough to want to listen to music concerts and to listen and learn. And in case of differing abilities, we want to adapt our lessons to include their ability to participate. We want these lessons to expose all of our neuro-diverse children to the great legacy of American jazz. And in particular that, the Preservation Hall, New Orleans. As well as the African influence genres of blues, even country Western, gospel, ragtime, rock and helped kids understand that jazz is a part of their legacy, it is a classic. It is our classical music. Now, as we adapt our lessons, we have to understand the difference between adapting and modification. Understand that adaptations are where the learning outcomes remain the same for the prescribed curriculum. That is you create strategies so that student with a differing ability can perform the learning outcome but you don't change that learning outcome. You accept what they can do in the process of learning that. Modifications, however are where the outcomes are changed or substantially different from the prescribed curriculum, the mainstream curriculum so that it supports the students' needs. So it supports their development personally. And please understand that adaptation is an error driven process for the teacher. And it's for the teacher to discover what best suits the students. This adaptation should begin with the student's ability, really observe what the student is able to do, allow the student to show you what they can do. And in this error driven teaching strategy of adaptation, it is not just the elimination of what doesn't work but for the student, it becomes a recalibration of them overcoming their physical barriers. So we as educators are always eliminating the things that don't work but when a student has to recalibrate, we can not exactly know how this makes sense to them.

- Wow, thank you for that Felicia. So I'm learning the difference between adapt versus modified but Melinda, could you tell us more about what adaptive movements and mobility devices look like in instrumental music specifically?

- Yes, so adaptive movements for instrumental music can be thought of as clapping our hands. When I was coming up and learning an instrument, our band directors would say, "Okay, clap the rhythms, right?" And so everybody had an opportunity to participate but when you have a student with differing abilities, depending upon their differing ability or the student's disability, you gotta make sure that the outcome of understanding, for example, the first one clapping, using clapping to learn rhythmic reading with numbers and or syllables. I wanna try to get an understanding of how the student is processing it because the learning objective when a student wants to play an instrument of differing abilities or just a student wants to play an instrument in general, is that they have to come together and play in an ensemble. So I need to make sure that there's a good understanding of music theory basis, right? Rhythm reading, pitch reading and getting around the facilities of your instrument. So say if a student has a differing ability that allows them to have a hearing device and I've taught students with this, I make sure that I talk a little slower than I normally do. Like normally when I get nervous I speed up like I am now but I have to make sure I calm myself down because I know they're also taking in the movement of my lips. So then I can demonstrate what I'm asking them to do. If a student doesn't have the ability to move one particular arm, they can tap their leg, okay? So clapping or tapping or even dancing say, if a student has a socio emotional behavior disability and they have a lot of energy and I'm doing teaching rhythms or if I'm teaching steady beat, I tell you what, let's get up, we can move. And a student who is ambulatory, meaning that their legs don't move. Say if they're in a wheelchair can move at the pace of the steady beat, like students who can walk without a device, they can march and the student that's in a wheelchair or on a cane or a walker can move at their pace as long as I can see that they understand the steady beat when I'm teaching tempo or time signature or like I said, teaching rhythm in whatever way that I need to. So those adapting devices for instrument, excuse me, adaptive movements for instrumental music. When it comes to mobility devices, that's when I need to go to labeling an instrument if that's needed, for example, like any other band director, they have phenomenal musicians and band directors in New Orleans. You make sure that the student picks an instrument that is best suited for their learning style. So if I have a student who is autistic and they're in a class with 15 other clarinet players, I'm gonna label everyone's instrument so they know left from right, top from bottom. But I may also ask their parents to purchase some earplugs for them so they're not overwhelmed by sound. Other things like I said, with labeling. Here we see a trumpet that has the keys labeled one, two, three, if I just go ahead and label all students instruments one, two, three, first piston, second piston, third piston and then I'll put an L for left hand and R for right hand. So students know where their hands should be going. And in particularly for students who have gross motor or fine motor disabilities, this helps but I don't want to single out the student with a differing ability. So every student gets this when they're learning how to play a trumpet for the first time. I do the same concept for like I say, clarinet but I do it in silver permanent marker. And I actually can use stickers, color stickers for flute players so they know which specific keys to use. In Montgomery County, in Maryland, instrumental music teachers can also teach orchestra. So an auto parts store is one of my favorite places to go get tools to help with mobility devices, right? So car pinstriping tape helps to label the fingerboard for violin, viola and cello players. So they know that proper distance that they need to shape their left hand when they're playing their particular instrument. So this ensures success but in Montgomery County we are trained to not actually, to make sure that we're not going to the student with a disability and just pointing this out of care, you need this, you need that. So what we try to do is make all the students that are participating in that class receive the same start-up benefit. Now, for those of you who have children and you're running instruments, don't get upset, the permanent marker does come off. The more they practice, the more it rubs off. So those are mobility devices in the instrumental music program for the majority.

- Thank you so much, Melinda. So I'm hearing about these different mobility devices but what does that look like with the differing ability specifically? What are the adaptive movements that are paired with the differing disabilities? What works best?

- So remember we were saying, you have to know your students and you have to make sure that you know their strengths before they come into your classroom. It's like forming a relationship with all the other students. So we do this with all the other students that we teach as well. So you know the student's personality, you know their background, you try to get an understanding of what's going on at home. So for example, if I am teaching rhythm or tempo for students with attention deficit disorder, I'm gonna make sure to have the students to move to the beat and have the students count the beat out loud with me. So oftentimes many students who have attention deficit disorder are auditory learners, so they they're learning by ear. So it's great to make sure that everybody's on the same page by reciting the tempo speed at the same time. So students with autism is very, very important that you use specific routines to prepare them to move. Now with every student, it's just great to have great classroom management practices. They know what comes first, second, third, fourth and fifth in your classroom before you start even teaching. So establishing relationships and establishing management practices are very important to ensure all students have success. For students who have visual impairment, you wanna pair them with another student so that they can get around the classroom chairs or you can better assist them with another student and student can say, okay if you want, you can tap their shoulders of students can make that decision. Dr. Lively, you can chime in at any point in time here 'cause I don't wanna monopolize this particular slide.

- Well, this slide is just a pointing out specific differing abilities and the way to adapt to your program, to give students the ability to participate. So you as a teacher, helping the student meet the outcomes in the best way for the student such as the non-ambulatory movement, if you use the arms or the head or the hands, in the case of learning impairment, use charts, use something that signals in advance what's about to happen. And in the case of children with emotional disabilities, be sure you provide lots of space and a lot of positive reinforcement but that is important for everyone.

- I know that's right.

- I agree, I agree. So we've learned, I feel like I've taken in so much about the adaptive movements and what works best for the differing abilities but I'm curious Meredith, I would love to know what you have to say, what does that mean once we've taken this and adapted it into our instructional plan, what does it mean for the student's brain and body? What is this music and art doing for the students brain and the body in the classroom?

- Yeah, that's a great question Pam and some really fascinating research out there. First, I'd like to introduce myself to our guests this evening. My name is Meredith Sharpe and I am a Caucasian female of Northern European descent. I'm wearing a red shirt with flowers and my hair is pulled back in a bun. My Zoom background is the inside of Preservation Hall and I am a neurologic music therapist. And I work with students with disabilities in various settings, including schools. So as we can see from this image, many areas of the brain are stimulated as we listen to and create music. For the purposes of this webinar, we're gonna focus on those motor areas of the brain. So the motor cortex, which is located in the frontal lobe of the brain helps us plan, control and perform those voluntary movements used to play an instrument or move to music. We also see in this image, the cerebellum, which is located towards the back at the top of the brainstem. As we play an instrument or move to music, the cerebellum helps us with balance, coordination, fine motor movements and motor learning. So music directly accesses these motor areas of the brain. So when we take the time to create adaptive experiences for our students, we are helping them to actually optimize their brain function and be more successful. We can look further at how specific musical examples and elements can support adaptive movements as we go on to the next slide. So as we plan to use adaptive movements in the classroom, we can think about the different elements listed here, such as rhythm, tempo, melody, dynamics and harmony and then how each of these can be purposefully used to create and support adaptive movements. So for example, introducing a steady pulse at the right tempo for the student helps them in train with the beat so that movements become more coordinated and organized. I've used this idea for students with cerebral palsy to improve their independent finger movement as they play individual piano keys to a metronome beat. So as the metronome beat taps, each finger is playing a key on the piano. And the really cool part about this is that this work has actually translated into improving the student's handwriting as well. So you see some carry over. Using a steady beat in this way has also helped several of my students with gross motor function and balance as they play drums and an alternating pattern on either side of the body, so going back and forth, which has been really great to see, I found that carefully using certain melodic patterns can stimulate certain movements. For example, I created a short composition for a student with cerebral palsy that consisted of an ascending melodies. So a melody going up with the appropriate tempo and meter to help her stand up independently. And with practice, this led to her being able to stand up independently and then she could move with her classmates, dance with her classmates and it was really a lot of fun. Making the connection between certain body movements and dynamic levels in music has greatly helped my students with autism spectrum disorder to gain better motor control and motor planning. I'm currently working with one student to make the connection between smaller amounts of air through a harmonica means softer sounds while larger amounts of air means louder sounds. We're hoping that these concrete connections will also help him be able to self-regulate. So when he needs to speak louder or become softer to self-sooth. And lastly I've used harmony and certain harmonic progressions to cue movements, accent movements and celebrate movements. I worked with a student with multiple physical disabilities who lit up when I suspended that dominant chord as he worked to reach for an instrument. And then as he played the instrument, the progression resolved to the tonic or home note. So if he felt that sense of completion and resolution and accomplishment and that was really a lot of fun each time. So Pam, we can see how not only do adaptive movements help our students create the music but the music itself can be an incredible tool and facilitating adaptive movements.

- Wow, Meredith, I would say so, it's definitely just learning all of this has got my motor splinters going. So speaking of harmony, Felicia, what would you say the positive effects of general vocal music education does for the student's brains?

- Right, well, as you see here a few quotes from some research on the effects of music study and rhythm and train on the brain, there's an increase in fine motor skill, there is regulation of emotions, there is more use of the brainstem as Meredith referred and there's a greater impact on cognitive function. So researchers have found that even in adults, as they're given difficult tasks to do that they compensate, they use strategies to compensate. But they always go to reach their tasks completion in safety. And I know when our students are in class, they may use their movement abilities in class but they don't always try to maintain their emotional safety and these teachers after adapt to meet students' abilities, to defend that emotional safety, as well as their cognitive development. And we should always consider and understand the importance of using music in any educational setting and its effect on the child's intellect.

- Okay, so I remember Melinda shared some specific strategies with us for instrumental music. Felicia, could you share some strategies that apply to general vocal music education in the classroom?

- Certainly, most of us in general music, vocal music are introduced to these various methodologies. Sometimes we adhere to one but most of us use a combination of everything. Well, just so you know, the Orff approach is kind of an integrated arts approach using drama and movement and singing and playing those xylophone type instruments that you see there in the picture. Dalcroze or Eurythmics is the only one that is mostly movement centric. It begins with introducing concepts strictly through movement. The Kodaly method is principles to create a developmental program for your music students and the movement component, one of the movement components is use of the John Curwen hand side. So it's the use of the hand signs to indicate the solfege syllables in its scale. And they learn to read, they have ear training and learn to read music through that process. The Gordon music learning theory has some movement in the process of learning to read rhythm patterns. They move to the macro beat as a reading these patterns and build a vocabulary so that they can move on to improvisational skills later in the process. The Suzuki method is very famous for getting kids playing instruments pretty quickly. And although it is by ear, as they say, the movement component is that they are using their muscle memory to find these melodies as they're playing. So if we move on to the next slide.

- Yes, I'm excited. I'm excited how we bring this all together Felicia.

- If you want a lot of movement in your classroom, be sure to have some open space. The environment should invite both free and organized movement. I use the, I like to set up my room this way so that the rug becomes a place to sit, to move freely. And of course, safely inside their bubble space. I like the chairs to be there, to help create line formations or in and out movement but I think where they have to adhere to certain patterns. And of course the chairs themselves are their home base. It gives them a chance to be where they're supposed to be. In our next slide. Just want to share with you the fluidity of music learning through movement. For Dalcroze, it is moving after hearing to go into moving, feeling and sensing, sensing where the music is going and those senses to develop some analyzing processes. That is where I would think our non-musician teachers would kind of stop. Just use that as a guide on how to develop a movement lesson. The others from the last four lines, the analyzing, the reading and writing and improvising and performing are the concepts that your teaching musicians would use and go forward with. So these movement adaptations may look like a wheelchair user might use a scarf to show the beat or pull for fluid movement. If a student has an impaired gait, maybe you accept the fact that they get to that beat on every other step but they are moving to the beat. And of course our blind and low vision students, maybe someone to lend an arm, softly verbalize what's gonna happen to the right to the left. In that case also be sure that the chairs and the furniture is where it was the last time they were in the room. There are a lots more adaptive movements listed here. And when you get a chance to go back over the material here, you can get a chance maybe to make a checklist of the kinds of things that you want to use in your movement lesson so that everybody, everybody is able to participate.

- That is very poignant. I think that as an overthinker myself, I have to make a checklist. So I've got all this wonderful information now and I see Melinda laughing 'cause I'm sure you can speak to it the same, we've got all this information but Felicia, how can we plan to actually teach this in the classroom and deliver it to our students now that we've got all of these wonderful gems from all here.

- Well, as you're putting together that movement lesson certainly consider where the students were the last time you had a music class, were they excited? Were they sad? Were they fairly balanced emotionally? And you wanna move on from there. What kind of activity would keep encouraging them to learn and something that they can carry with them, they'll remember, they'll enjoy and remember. And of course, based on your lessons and activities that determine beforehand, who might have specific needs and how you were going to address them without drawing a major attention to them, can you address everybody and approach it that way? Or can you maybe put the stereo close to the hard of hearing students' seat so that they have that vibration to lean on as they are moving through the lesson?

- Okay, well, what if I'm not a musician, Felicia, how do I do this?

- Well, I really believe that what you love and show that you love, the students will also appreciate. So whatever genre of American music you love or is important to you, we want to pass it on to the students. And in New Orleans, it's the origin of the music that has become our classical music. And the preservation of that is crucial to kids, for all the kids in the country to know their history and their culture. So non-musicians can do no more than just play as recordings. Just be sure that this music is in the students' ears, that they have a pleasant experience and to continue to advocate for students of differing abilities just by adjusting your program so that they can participate. That is an advocation in themselves. And of course, advocating for music program so that the non-musicians can pass it over to the teaching musician so that they will have a complete and full program and advocate for programs that will enhance the cognitive development of our students.

- Well, I think that now's a great time for us to have our experiential. Could you tell us what we're about to do next? And this'll be a great opportunity for everyone in the audience tonight to join in and apply some of these great tips that Felicia, Meredith and Melinda have shared with us.

- Well, I need you to do a couple of things. Stay muted, I'm very experienced at this by now. We don't want everybody singing all at different times, and this piece called Lil Liza Jane. Just one of my favorites, I use it often. I have used it many, many, many times over 40 years, probably 40 times but it has a call and response form which of course is a foundational form for American music. And I want you to move on the response.

- Okay, how does it go?

- You gotta pick, you gotta pick a differing ability. If let's pretend that you don't have use of your legs, so you use your hands, I'm gonna use my hands to demonstrate and indicate to you when it's time to move, make a choice, be ready. So the sound goes like this. ♪ I got a house in Baltimore ♪ And that's the call and the refrain or excuse me, the response is ♪ Little Liza Jane ♪ And that's where you're gonna move, you're gonna keep the beat. Panelists, would you please be help me indicate to everybody when it's time to move. ♪ Little Liza Jane ♪ ♪ Streetcar runs right by my door ♪ ♪ Little Liza Jane ♪ ♪ Oh Little Liza, Little Liza Jane ♪ ♪ Oh Little Liza, Little Liza Jane ♪ Okay, the band is in on it too, well, we are so lucky. Pam, would you please introduce our band.

- Without further ado, I have Mr. Will Smith and the Preservation Ensemble, performing Little Liza Jane. Join in and have fun. ♪ I got a house in Baltimore ♪ ♪ Little Liza Jane ♪ ♪ Streetcar passes right by my door ♪ ♪ Little Liza Jane ♪ ♪ Up in the morning, the morning sun ♪ ♪ Little Liza Jane ♪ ♪ At the Preservation Hall numbers swell ♪ ♪ Little Liza Jane ♪ ♪ Oh Little Liza, Little Liza Jane ♪ ♪ Oh Little Liza, Little Liza Jane ♪ ♪ Oh Little Liza, Little Liza Jane ♪

- Let me hear you singing. ♪ Oh Little Liza, Little Liza Jane ♪ ♪ Men feels the door of our barrel tweak ♪ ♪ Little Liza Jane ♪ ♪ Girl you in the barn the sun is set ♪ ♪ Little Liza Jane ♪ ♪ I used to swing south but I swing suit ♪ ♪ Little Liza Jane ♪ ♪ Because when good girl does go bad ♪ ♪ Little Liza Jane ♪ ♪ Hit the chorus ♪ ♪ Oh Little Liza, Little Liza Jane ♪ ♪ Oh Little Liza, Little Liza Jane ♪ ♪ Oh Little Liza, Little Liza Jane ♪ ♪ Oh Little Liza, Little Liza Jane ♪

- Marvelous, marvelous, marvelous.

- That was wonderful. Felicia, thank you so much for walking us through that. I really think I have a great idea of everything that we spoke about tonight. So what do you think our actions step should be?

- Well if you wanna do something tomorrow in your classroom and you're a non-musician, a contained classroom teacher. There are a few things you can do right away. First of all, be sure you use some of the recordings by the Preservation Hall Band and maybe play this past the beat here. Teaching musicians might actually use a rhythm patterns that this student has. Non-musicians might just use a sound or a move and you just pass it along and keep the beat that way. Chris Diaz is, and I'm sure you know what that is, is always a big go-to, name that song from the rhythm, if you have a group of songs that all the kids know, see if they can do a little guessing game, somebody clap the rhythm, play, body, percussion the rhythm and see if they can hear from that. It's a great brain teaser. Song lyric acting use, you'll have them use their own movements and actions to act out the words of a song. And of course adapt some other games into music games, such as instruments charades.

- Wow, okay, that sounds like something I can do. I'm really excited to spread the word about this. Meredith, you're here to tell us more about the adaptations, excuse me, made to the Preservation Hall lessons. Can you tell us more about these lesson adaptations?

- Yes, yes, we work to create some lesson adaptations for you all to use and access on the Preservation Hall website. They can be found in your K-8 lessons, as well as in the songs specific lessons. For example, you see here Lily of the Valley, so you can find them in those lessons. And then we also wanna ask you to keep an eye out for lesson adaptations by Dr. Felicia Lively that will be found on the Preservation Blog and social media platforms.

- Wow, thank you. I'm looking forward to seeing those adaptations and we would love for everyone to keep following along. We'll be sharing all of these webinars through our blog and YouTube channel and we'll be adding new lessons with adaptations every month at our website lessons.preshallfoundation.org/lessons and webinars for the two specific things. I think I've done enough talking. How about we bring you all who have been so wonderful in participating. It was amazing to see your faces during the experiential. We'd love to open up the floor for a Q&A. Does anyone have any questions for our panelists this evening? We have a few more minutes and would love to hear from you and Melinda and the Felicia, Meredith, just keep an eye on the chat box. And if you would like to directly engage with the audience, please do. And Will, I'm sorry, Will as well. Last but certainly not least.

- Well, the webinar is excessively profound to me as a musician and music educator. I mean, to hear the Preservation Band do what they do, how they do, what they do just brought to mind that when we're thinking of music, one of the greatest exports of the United States to the world is our music and our culture and for the people of New Orleans and everybody, every citizen of the world to experience the pandemic that we have gone through and continue to with such joy and such a fervor is amazing. And that's what we need to heal as we are emerging out of this pandemic, right? People, the human, humanity is a creative culture. And to continue to play your instrument and or sing or to draw or to dance is part of the healing process. And it was when it relates to our students as we go back, because everybody's been traumatized in this pandemic, as we go back into our classrooms and whatever shape, form and fashion to take that joy and love of music with us. Now, if you are an educator and say, you're not sure of the budget that you have...

- Right.

- Right.

- 'Cause budget dictates a lot. Right, right. So when I was talking about advocacy, one of the main reasons I was talking about advocacy was not only so students of differing abilities or disabilities can have access to what everybody else have access to but so that you understand that your system gets money for every student that has a 504 and IEP in your system. Now, Melinda, I hadn't heard anybody say anything specifically about that. True but I'm a fan of, you have not 'cause you ask not. If you need more aid to help your students be successful, to have the devices that they need to participate in the different academic subjects that they are participating in from an academic perspective, they're in inclusion classes with say, if Mr. Smith meets more shakers or more things of that nature. And the resources when you go back to Preservation Hall website for the webinar, I've taken the liberty of putting some grants that you can apply for, right? And so say everybody's taken a hit in this pandemic when it comes to education and music education, it's gonna take a little effort but it's worth it, right? So some grants, it depends on what they are, aren't all for instruments, some are just for accessories. Now, for me in instrumental music, when we have students of differing abilities or students who just can't afford to play, we have some instruments for students but they need supplies. So I know that D'addario has a grant for supplies. And sometimes it's just a matter of knowing information and having access to the information to ensure that your community, your school system, your students, your community group, has what they need.

- Absolutely and again, those resources will be available to everyone on our webinars recap. And we still have a few minutes here, if there's anyone else, let me check this chat. Yes, I do agree that these grant recommendations are gonna be very useful. And yet again, the reminder is that they will be available early next week on our Salon726 website. So if there's no more questions, any more questions, I really love the participation tonight. It was wonderful to have everyone watching live music again together, right? Thank you Zoom for that. And thank you everyone for joining us tonight. And please make sure to take these things into your classrooms, homes, dance troupes, anywhere where you are wanting to be part of the human experience. We encourage you to take these tips with you wherever you go. And once again, on behalf of Preservation Hall, Preservation Hall Foundation, and all lovers of music and art, thank you for being here with this tonight.

- Thank you, Pam.