March 25, 2025 • 31 mins
Bryson Tarbet, founder of That Music Teacher, takes us on a captivating journey through the world of accessible music education. Drawing from his personal experience with ADHD and sensory processing disorder, Bryson reveals how his quest to make the classroom more comfortable for himself evolved into a mission to ensure music is truly accessible for all students.
What begins as a conversation about simple seating arrangements quickly expands into a masterclass on creating fully inclusive music environments. Bryson shares practical approaches like offering flexible seating options, adapting instruments with occupational therapists, and color-coding sheet music to help students make visual connections between notation and instrument fingerings. His ingenious solutions range from simple rubber bands that help students grasp mallets to sophisticated one-handed recorders for students with physical disabilities.
Beyond the technical aspects of accessibility, Bryson offers a profound perspective on the psychological importance of inclusive music education. He explains how introducing instruments like recorders can create a level playing field where students who typically struggle academically can shine, as everyone starts at the same point regardless of past performance. This insight challenges us to rethink how we structure music education to ensure all students have opportunities to succeed.
The conversation takes an unexpected turn when Bryson reveals how COVID-19 forced him to explore alternatives to traditional performance-based music education. This led to the discovery that many seemingly disengaged students were actually deeply musical—they simply resonated with production or technology rather than performance. This revelation has powerful implications for expanding our conception of what music education can and should be.
Ready to make your music classroom more inclusive? Follow @thatmusicteacher on Instagram and visit thatmusicteacher.com to access free resources and join the waitlist for the upcoming Elementary Music Summit, where educators worldwide connect to share ideas for creating truly accessible music education.
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Episode Transcript
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Speaker 1 (00:00):
The SJ Childs Show is Backwards' 13th season.
Join Sarah Bradford and the SJChilds Show team as they explore
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This season, we're excited tobring you more autism summits
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Speaker 2 (00:30):
Go to sjchildsorg hey everyone.
Speaker 3 (00:36):
I wanted to take a second to talk to you about the
International Autism Summitcoming up in April April 25th
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Click on any of the socialmedia icons and go follow me so
(00:56):
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Can't wait to see you then.
Hi, welcome to the SGA ChildShow.
Today we are going to have awonderful discussion about I
think we can probably sayeveryone's one of everyone's
(01:21):
favorite topics, right?
Music, and I think it is such auniversal thing that really
touches us in so many differentways.
But in this discussion, we'llfind out how we're using it to
enrich lives of those peoplethat we love.
So we are inviting Bryson andis it just pronounced Tarbot?
(01:43):
How do I pronounce your last?
Okay, perfect, bryson is heretoday.
Really great to meet you.
I'm really looking forward togetting into the fascinating and
really just like heartwarming.
I think, as you know, all aroundservices and the company that
(02:05):
you have.
Before we get started,introduce yourself and tell us a
little bit about yourself andkind of what got you into this
and what brought you here, ofcourse, Well, first of all,
thank you for having me.
Speaker 4 (02:17):
I am so excited to see where we can take this
conversation because, just likeyou said, I feel like we could
take it so many different ways.
My name is Bryson Tarbett.
I'm based out of Columbus, ohio, and I'm actually an elementary
music teacher by trade, but Iam currently serving as an
independent instructional coachand elementary music specialist
for my company that MusicTeacher.
I had no intention of everstarting a business or leaving
(02:40):
teaching, but sometimes theuniverse just starts, things
start happening and you juststart taking notice.
I very quickly realized thatthere wasn't a lot of
professional development outthere for elementary music
teachers, especially when itcomes to creating inclusive
environments and sensoryaccessible environments, and I
kind of fell down that rabbithole.
(03:02):
I have ADHD and sensoryprocessing disorder myself, so
it was kind of a natural hyperrabbit hole.
I have ADHD and sensoryprocessing disorder myself, so
it was kind of a natural hyperfixation for me of like, how can
I make my classroom moreaccessible for me as the person
who has to be in it all day?
But also, you know, how can Imake sure that you know?
You talk about how music isuniversal, and we definitely do
we talk about music is foreveryone, but the longer that
(03:31):
I've been doing this work, themore I realize that you know
music is for everyone.
But the music classroom reallyisn't until we, as teachers, do
the work to make sure that it is.
And that's kind of my bigpassion right now is is how can
we, how can we make this moreaccessible, how can we help
these teachers get theprofessional development they
need to do so and just make surethat music is for everyone?
Speaker 3 (03:47):
So that's the journey I'm on right now, so important,
and, you know, it's probablysomething that teachers,
especially music teachers, maybedon't think about or don't
maybe know that they're going toneed when they get into, you
know, from school to their workand kind of what does that look
(04:08):
like in that transition?
But what type of accountability, accessibility mixing of words
here what kind of accessibilitydo you think is important when
starting and how can people takethose steps to make that happen
?
Speaker 4 (04:29):
Yeah, that's a really good question because I feel
like it's so easy to get stuckand I don't know where to start.
So I don't know how to start.
And I think the reality is iswhenever you notice a barrier
for, you know, student access inthe curriculum, or if you
notice a student that isn'tfully engaged or fully involved,
that's a red flag of like, oh,we need to zoom in here, we need
to figure out what's going onhere, what's getting in the way,
(04:53):
what supports can we give, whatthings can we remove to make it
just generally more accessible.
But the answer is gonna bedifferent for every teacher,
every school situation, everystudent.
I developed something calledthe domains of accessibility,
which are really just like fiveplaces to look to get started.
Me personally, as an individualwith ADHD and sensory processing
(05:15):
, I tend to start with sensoryaccessibility because I just
notice how big of an impact thatcan be and how really honestly
small changes on the behalf ofus as the teacher can have a
huge impact in the students thatare in front of us.
But really it all comes down tofinding out what is the first
thing you can do to make it moreaccessible, the first barrier
(05:38):
you can start tipping away atand then, as you start working
on that, start noticing whatother barriers are seeing along
the way.
What's wonderfully terrible isthat a lot of these things about
accessibility they're sointerconnected, hold on.
What's great about the, youknow, and also, quite frankly,
(06:17):
very frustrating about a lot ofthese different domains, is
they're so interconnected thatwhen we start kind of tweaking
around over here, you'll startto notice other areas that are
actually being impacted bydifferent, you know
modifications or adaptations, oreven just noticing it yourself.
You'll start understanding andkind of having a better
understanding of what that lookslike and how that can be, what
that can look to to removebarriers.
But I don't know.
It really depends on so many ofthe different situation.
(06:38):
But the big thing is just togive it a shot and see what
happens and then just keep goingfrom there.
Speaker 3 (06:44):
Yeah, so when we walk into a music room, let's say,
let's talk about maybe some ofthe things like seating, for
example, what type ofaccommodations do you give for
seating?
Speaker 4 (06:59):
So, for me, I was always and I'm for a firm
component of just like I'm not ahuge fan of having a bunch of
furniture in my classroombecause of the way that I teach
is so movement-based, and so itjust requires an empty space.
With that being said, most of mystudents would kind of our home
base would be sitting on thefloor.
(07:19):
Now, obviously, that's notimmediately accessible, so I
would always have other optionsavailable, right, so we would
have chairs as an easy one, somerisers available for students
that might want them or preferthem.
But also, like I didn't reallynecessarily require my students
to sit down all the time,because I know there are some
students that if I give them aconfined space at the back of
(07:41):
you know, if everyone's sittingin front of the chalkboard and
they want to stand behind themand kind of you know pace a
little bit or kind of move backand forth, I'm okay with that,
that's fine.
So that's kind of really allwhat it looks like is just it
can be so many different things,but it really comes down to
what.
Do I really want to get out ofthis as a teacher, right?
Do I really care that all mystudents are sitting down on the
(08:01):
carpet.
No care that all my studentsare sitting down on the carpet.
Speaker 3 (08:11):
No, I want them in their own space listening and
not messing with anyone else,and if they can do that, we can.
It can look a lot of differentways, absolutely, and I really
like that too because it can be.
There can be a lot ofconfinement and really rigid
kind of boundaries set with likemetal chair seating and things,
and that can be really hard tobe comfortable and then to want
(08:31):
to share your talents.
Or it may be if a kid isnervous about playing, then
having to worry about where I'msitting and how it's being noisy
or anything like that, thatwould make me so crazy, Um, and
so I wouldn't like same with me.
You know, um, adhd, so uh,definitely would.
(08:52):
Would really mess with my, mysensory stuff too, and I was and
and I did choir, so it's like,yeah, why do I need to be
sitting?
I need to be standing actuallyto do this good singing, I need
to do.
So.
What about, like instruments?
What type of instruments can becreated to be more inclusive or
(09:16):
to accommodate, maybe, studentswith any type of physical um
needs or accommodations?
Are there better uh instrumentsthat are better for those types
of students, or what does thatlook like?
To kind of.
I guess it's very individualtoo.
What?
Speaker 4 (09:34):
somebody likes isn't it I mean, I always think about
when I, when you think aboutinstruments, is there's the
physical side of it, of you know, can a student, you know, use
proper technique quote, unquoteproper technique with, with the
way that they are, and you know,sometimes we need to, as the
teacher say, you know what,we're not going to have the best
technique, but if they'replaying the instrument, that's
(09:56):
fine.
Obviously, you know, workingwith an occupational therapist
can be really helpful.
I've worked with our schoolbased OT in the past for
students that you know we wereadapting a ukulele to basically
creating a custom pick that hecould grab, or using essentially
a cord buddy, which basicallyis a machine that you have to
push one button instead ofhaving to, you know, move your
(10:18):
fingers around in differentchord shapes to make that a lot
more accessible.
Even something as simple assomething like a mallet cup,
which is essentially like arubber band that goes behind
your hand to help you grasp ontoa mallet for a drum or for an
instrument.
Beyond that, there are so manyways that you can use technology
now to make accessibleinstruments.
(10:40):
One of my favorite it's calledGoogle Creatability.
It's one of those open sourceGoogle projects, um, and they
have a bunch of differentinstruments and musical
activities, um, that use thewebcam and essentially lock you
do.
They engage in body tracking,so I could make my nose the
cursor and I could play, youknow, the xylophone by, you know
, up and down by moving my headleft to right, or you could, you
(11:01):
could even, and you can like,match it to like different parts
of your body.
So, depending on the student,that could be really helpful as
well.
And then also, you know thingslike switches that you can use
to essentially, you know, justhitting a button can turn, can
kind of trigger this chain ofevents.
That's what's really cool iskind of seeing how you know,
like you said, it's soindividual to the student and
(11:22):
what they need and also likewhat the instrument is itself.
One big rabbit hole that I'vegone through lately is we see a
lot of people saying, hey, youknow, we're doing recorder this
year in our class and I have astudent that only has use of one
arm.
What do I do?
And there's this company, Ithink it's called whmi, so one
(11:43):
hand, musical instruments andthe.
They actually createinstruments, uh, wind
instruments, the recorders,clarinet, saxophones, all these
different things, and theyactually re-engineer them so
that they can be used with onehand, which first of all is just
really cool from an engineeringside of it the fact that
they're able to rework that.
But it's also just such a aneeded because, again, that
(12:06):
could be a very exclusionarypart you know, exclusionary unit
in the classroom if we're notreally thinking ahead and
feeling how can we make thismore accessible.
So that's kind of somethingthat I've been.
I've been kind of diving into alittle deeper is are those
adaptive instruments and how,how we can utilize them in a
general music setting adaptiveinstruments and how we can
utilize them in a general musicsetting, and are your?
Speaker 3 (12:30):
this is going to be a little tricky question, but are
your schools generally willingto get those types of things for
those students?
Speaker 4 (12:35):
That is a very tricky question.
For sure I've never had to dealwith or I've never had to work
with, you know, finding aone-handed musical instrument.
I've heard great successstories of school districts
doing that and I've heard somethat it struggles, but I've also
.
You know that, for instance, inmy district we do recorder.
(12:56):
I love the recorder but it'sfine motor intensive, right.
There's a lot of fine motorskills involved in that.
So we were able to source somerecorders that are a little bit
more expensive than atraditional recorder but still
very accessible price-wise, andthe school was able to grab
those for us, which justbasically took out one aspect of
it.
You know they, instead ofhaving to fully cover and seal
the holes, all they had to dowas push it down and it created
(13:18):
a seal on itself.
That alone has been reallyhelpful for some of my students
with fine motor deficits,because they're still playing
the recorder, they're stilldoing everything else.
They just don't have to worrybecause, like a recorder, if
you're not sealed along thewhole or on the long way, it's
not a forgiving instrument.
So getting something like thatI found really helpful.
Obviously, here in the UnitedStates, special education
(13:40):
funding is part of the wayschools are funded.
Special education funding ispart of the way schools are
funded, so if you have aprincipal that knows how to find
where the money is, a lot oftimes that can be a thing that
would be covered through astudent's IEP or special
education funding.
In that way, I love that.
Speaker 3 (13:56):
At least that's the way it's supposed to work, right
?
And now we've covered seatingand instruments.
Let's talk about sheet musicand accessibility, screen
reading, things like that.
What kind of options dostudents have when it comes to
that?
Speaker 4 (14:12):
I mean, that's one of those things where I there are
some music educators out therethat are very firm that you know
students are not to be writingin their notes and their music.
That's, it's a crutch, it's nothelping them.
That, first of all, I'm not oneof those people Like, if you
want to write in your stuff, Idon't care.
But I think you bring up areally good point that there are
just so many options and Ithink that's where you know if
(14:34):
you have.
You know, one of my bestfriends is a teacher of the
visually impaired and we kind oftalk about this every in a
while, never enough, becauseit's another one of those things
where it's typically notsomething that you've had a lot
of experience as a teacher whenyou have a student that has that
need.
So I've never necessarilyworked with a student that has a
severe vision impairment, but Ihave worked with a lot of
(14:56):
students that had a strugglewith tracking left to right.
So for me, one of the bigthings that I would do is to
help with that left to is firstbreak it into smaller chunks.
So instead of having you know100 measures on the first line,
break it up into like five or 10so that they don't have to.
They're able to shift down aline more, they're not moving
left to right.
Me personally, I didn't evenrealize this, as when I was in
(15:20):
high school I would occasionallyespecially if it was a really
big score with lots of things Iwould actually mark where the
measure lines were to show,basically to give me more
anchors to go back and look for.
I didn't realize that.
That was, you know, part of theway that I process things and
it made that helpful One of myfavorite examples of making
(15:41):
sheet music more accessible,which, first of all, you don't
need sheet music to be a greatmusician.
I'm just going to put that outthere and we're probably going
to make some people mad withthat, but like, yes, music
literacy is very important, butit doesn't it doesn't the only
thing, but anyway, one of myfavorite things that I've ever
done to make sheet music moreaccessible was color coding it.
It was my first year of teaching.
We had a student that when Igave her the recorder, she was
(16:04):
really understanding of.
You know.
A, b I'm going to put the thumbin the first finger.
A, I'm going to put thumb,first finger and second finger,
and then she could also read themusic.
If it's on the middle line it'sgoing to be a B, if it's on the
space below that it's an A.
But connecting the two there wasa disconnect.
So for that student Iessentially grabbed some binder,
reinforcer, the little circlelabel things, I put them over
(16:29):
the holes in the recorder and Igrabbed some whatever
highlighters I had in my deskand essentially color coded so
blue is B, purple is A orwhatever, and then I color coded
her music just by highlightingdifferent notes.
Not only was that giving hersome more visual cues of where
how to get back you know, ifshe's going back and forth, how
to come back but it also createda different type of connection,
a color connection that allowedthat student to be successful.
Did all of my students needthat?
No, could any of my studentsthat wanted to do that do that?
(16:52):
Sure, but that's one of myfavorite ways to kind of make
that a little bit moreaccessible.
Speaker 3 (16:58):
Yeah, no, I really like that.
I think that that's a good ideaand there's just so many
different types of learning thathaving that knowledge of the
different types of learning andthen you know, putting that into
your teaching is so important,especially well, just in,
especially in, special education, but with and we're really with
everything, because you canreally hone in and help those
(17:22):
students nurture their skillsand their talents and those
things that they really love.
What type of encouragement ordo you guys do, like concerts or
, you know, talent shows, thingslike that?
What kind of special events doyou guys do with your kids?
Speaker 4 (17:41):
The way that my district always was is
essentially every grade levelhad a showcase night.
They had a concert every nightor every oh, not every night,
goodness every year.
And you know it lookeddifferent every year, but I
tried to design it in a waywhere it wasn't just doing the
same thing.
So, for instance, kindergartenwas basically I would invite the
teacher or the students, no, Iwould invite the parents, the
(18:03):
grownups, to essentially justwatch a lesson in the way that I
would normally teach it.
Just, I had all of mykindergartners all at once.
Um, just like show what's goingon.
Fourth grade was always ourrecorder concert.
Um, third grade, we always dida family folk dance night where
we got to bring them you know,bring families in and teach them
what we're doing.
And and the reason I did thatwas a few reasons.
(18:23):
One I didn't want it to beboring or the same thing every
time.
You know I don't want it to.
I'm fully aware that not everystudent likes to stand up there
and sing in front of people.
So by giving them differentoptions, that alone just makes
my classroom a little bit moreaccessible, because we're not
just doing the same thing, we'retrying, we're activating and
(18:45):
using music in so many differentways.
But beyond that, I also wantedto allow students to have things
that were kind of leveling.
One of the things that I noticedvery early on in my career is
if a student was struggling withreading, they would, you know,
if they started struggling withreading in first grade.
They tend to struggle, you know, hopefully improving, but they
(19:06):
tend to still struggle, as youknow, compared to their peers,
as they grow.
When they get to that thirdgrade, fourth grade year, that's
where really the social deficitcomes in, because they're
starting to realize that I'm,you know, like they.
They they kind of put up a walland they don't want to try new
things because it could meanthey could fail.
My favorite part about therecorder, which we'd always did
in fourth grade, is nobody hasever played the recorder before.
(19:28):
So everybody's back on thatsame page.
And I've seen some of mystudents who academically
struggled the most and and youknow, needed the most supports
and the most most um, you know,one-on-one assistant.
I've seen them activate so muchbecause it is something that
they're able to be on the samelevel as their peers.
(19:48):
And I don't know people, somepeople, let's be honest, a lot
of people hate the recorder.
Even in the music, music edcommunity there's a lot of
teachers that don't know people,some people let's be honest, a
lot of people hate the recorder.
Speaker 3 (20:00):
Even in the music, music and community there's a
lot of teachers that don't teachrecorder, but that right there
is exactly why I will alwaystalk about the praises of why a
recorder should be part of anelementary music.
Yeah, I think that that's areally great point to make make.
It can be a really big strugglefor kids when they have that
(20:21):
identification that they arebehind or, you know, and not
only with one or two, but with agroup or the entire class, if
that is the matter.
So, yeah, that's really, that'sreally tricky, and it kind of
got me thinking, as, as you weretalking about that, what does
that look like?
What other options can we giveto kids who, you know, don't
(20:41):
want to have an instrument,don't want to sing, they don't
want to dance?
Can we offer things like musicproduction and these are some of
the things we do behind thescenes Like what does that look
like?
Speaker 4 (20:52):
Yeah, so COVID obviously did a number on
education in general, but musiceducation what a lot of, a lot
of things came out of that.
I mean, for instance, evenwhere I was teaching out in a
pretty rural area, there wasmaybe up most of a year so I was
able to sing in my classroomfor about a month because of the
(21:15):
requirements that the countyhad set.
So that's a lot of what I didin my in my classroom.
You know I can't justsupplement a recorder because
that's the same problem.
So we you know me and a lot ofother music educators we started
realizing what else is there,and I as much as COVID was a
really rough time.
(21:36):
One of the really good thingsthat came out of me personally
was realizing that some of thestudents I thought just really
didn't really care about music.
They were very musical, theyjust didn't want to perform.
So by being able to bring inaspects of like, what other jobs
are out there in music, whatare some other things in there?
You know, part of COVID was weall got, you know, all the
students were able to haveChromebooks so we were able to
(21:56):
use digital audio workstationsand mix our own music and stuff.
And seeing some of thosestudents that traditionally
would not have been quoteunquote a success story in my
classroom really kind of shiftedmy own thinking about what
music should be in this type ofsetting.
Now there's a bigger discussionthat needs to be had and
(22:17):
thankfully is starting to be hadabout, you know what do we do
with high school music Band andchoir is not the only thing and
you know how can we get more ofthis music production, music
business, and there's so muchout there that I think there's a
great conversation happening inthe music education community
of how do we connect the realityof what music is in their
(22:38):
at-home lives to what we what itlooks like in our schools,
because right now there is adisconnect and I think we're
starting to make some, someshifts.
But yeah, there's, music is foreveryone.
We just need to make sure thatwe've we've done the work to
make sure it is.
Speaker 3 (22:52):
I love that.
Let's come back around to thatmusic teacher and talk about how
that came about and what it ismeans to the teachers and music
teachers out there now.
Speaker 4 (23:09):
I.
It was a complete accident.
I had no intention of everdoing this, um, essentially,
what it what it was, whathappened?
What it what happened was, um,I left undergrad.
I graduated in the fall, so Ihad, you know, the vast majority
of the school year um ahead ofme, but I wasn't teaching music.
So I actually spent themajority of my first year out of
(23:30):
undergrad, um working as aspecial education assistant.
I loved it, um, but I missedthe music classroom.
So I created an Instagramaccount that music teacher and
just basically followed as manymusic teachers as I could find
so I could live vicariouslythrough them.
That's how it all started.
And then I started.
When I started teaching, I juststarted sharing my own
experience what was working,what wasn't.
(23:51):
I accidentally createdessentially a diary of my entire
teaching career, which isreally weird to look back on.
And in 2020, when COVIDhappened, like a lot of us no,
us music teachers didn't knowwhat we were doing I thankfully
had one resource that basicallyblew up and was really, really
(24:13):
helpful in this time, and that'show I realized, oh, there's
something here.
So I, you know, I formallyregistered my LLC and that was
kind of the beginning of what wehave now.
We do virtual summits and wehave a membership that has
professional developmentopportunities, because the big
thing we realized is thatteachers want, you know, music
teachers.
We really want to do more.
(24:34):
We just don't know how to getstarted or where to find that
information.
We jokingly refer to it as musicteacher island, because the
reality is we're likely the onlymusic teachers in our building.
Some of us are even the onlymusic teachers in our district.
So if we're going to get thosenew ideas, that collaboration,
that professional development,it's not going to come from our
(24:54):
schools.
So that's kind of how we, youknow.
Again, I never meant to do this, but I'm so glad I get to and
I'm so glad I get to impactclassrooms beyond my own.
I'm not going to lie.
It was a very tough decision toleave the classroom because I
love the people I work with, Ilove the students I got to work
with, but being able to workwith teachers all over the world
(25:16):
and see how the work that I wasdoing and the work that I was
able to facilitate and connectpeople was creating such a more
lasting impact that I had to atleast give it a shot.
And that's where we're at rightnow is how can we get more
professional development in thehands of the teachers all over
the world?
Speaker 3 (25:33):
Yeah, I couldn't agree with you more.
And so what does that look likewhen they go to your website?
What do they, what will they belooking for?
How do they reach out to you?
Kind of what's that process.
Speaker 4 (25:46):
Yeah.
So on our main site,thatmusicteachercom, we have
some freebies about halfway downthe page that you can download
to kind of dive in a littledeeper Up in the top right bar
we have the Elementary MusicSummit.
That is our big professionaldevelopment conference that
we'll be having this summer.
We have a wait list there rightnow.
Those are kind of the big waysthat you can get in contact with
(26:08):
us and kind of see some of thework we do.
And as we do more and we startmaking more connections, that's
where we'll keep things updatedoh, and keep growing, definitely
.
Speaker 3 (26:19):
And what about your instagram?
Is that still going?
Can you share that with us?
Speaker 4 (26:23):
and yes, so our instagram.
It's changed a little bit, youknow, in the ways that we run
and what we post, but we stillpost lots of content about
elementary music, specificprofessional development and
that is at that, music teacher.
Speaker 3 (26:37):
Perfect.
See if my typing is going to beworking here.
I think we got it.
There it goes, that musicteacher.
So go and follow those socialmedias.
Check out the website that musicteacher dot com and you can
learn more about professionaldevelopment and how to make your
(27:01):
music and your room yourteaching styles sounds like a
whole bunch of things accessiblefor an inclusive environment.
Some ideas and you know, I lovethat you said that because it
is a small, you know, group ofpeople in the community that are
(27:24):
the music teachers, and it's sowonderful that you're creating
this place to kind of cometogether, and I also hold
summits, and so I know howspecial and wonderful they can
be and how you can really bringpeople together in such an
amazing way.
They get so much out of it whenthey walk away from it and
(27:44):
they've been able to get ideas,like you said, that wouldn't
otherwise be available to themthrough their district, the
other teachers that they'reworking with, so I really love
those ideas.
It's been so wonderful gettingto know you today.
What's next?
What's coming up?
Anything other than the summitin the summer.
Speaker 4 (28:08):
Honestly, right now we are just, you know, heads
down planning for the summit.
We're hoping this is going tobe the biggest one yet and we're
really excited to be able to tokind of keep working on that.
With that being said, I thankyou so much for having me.
I love being able to share thepart of the journey and anyone
that I'm able to impact and help, you know, make, make something
(28:29):
a little bit more inclusive andand share that.
While music sometimes,historically, can get very
elitist and classist and ableist, I think the reality is that
there are so many people withtheir boots on the ground that
are trying to change that image.
Speaker 3 (28:43):
Yeah, absolutely, and you're one of them.
So thank you so much inpioneering this type of services
for music teachers around theglobe.
Really, if I'm sure that anyonecan reach out to you, so please
do that and go, follow and besupportive and find out how you
can make a better, inclusiveclassroom environment, home
(29:07):
music room for your kids ifyou're a homeschool home teacher
.
So let's just make thesechanges and help change this
world into a better place.
That's what we're doing.
So thank you so much, bryce,and it was so great to get to
know you.
I really look forward tohearing more about the summit.
Hopefully get back to me aroundthe summertime.
(29:27):
Let's have you back on and do acouple lives, maybe, and send
some extra people your way thatyou know love music as well.
Speaker 4 (29:35):
That would be wonderful, thanks so much for
having me.
Speaker 2 (29:55):
I look forward to staying in touch.
Thank you so much.
In the heart of the city, she'sshining bright.
Oh yeah, stories of love andcourage All throughout the night
, her voice resonating An anthemfor all.
Through the trials and thetrials, she answers the call.
Her mother and her fatherBreaking barriers and strife,
(30:16):
with love as her guide.
She'll never hide.
She's changing the world foryou With her heart and speech
and strong Empathies and melody.
In her journey we all belong.
Followers gather like stars inthe night.
(30:37):
So bright, 44,000 voicessharing in the light.
She stands for family,advocates for more, a movement
of compassion, ways we'll soar.
Podcasts together Symphony ofsupport Creating life Changing
rapport.
Podcast together symphony ofsupport Creating life changing
report.
She's changing the world foryou With a heart that's fierce
(31:02):
and strong.
Empathies, a melody, a journeywe all belong.
Through her eyes, a visionclear.
Together we riseding fears.
In every heart, she plants theseed of understanding and love
for dearly me.
She's changing the world foryou With a heart that's fierce
(31:39):
and strong, empathies andmelodies In a journey we all
belong.
The SJ Childs Show is Backwards' 13th season.
Join Sarah Bradford and the SJChilds Show team as they explore
the world of autism and sharestories of hope and inspiration.
This season, we're excited tobring you more autism summits
featuring experts and advocatesfrom around the world.
Speaker 2 (00:30):
Go to sjchildsorg hey everyone.
Speaker 3 (00:36):
I wanted to take a second to talk to you about the
International Autism Summitcoming up in April April 25th
and 26th.
It's going to be streaming freefrom all of my channels.
If you haven't already gone tofollow me, go to sgchildsorg.
Click on any of the socialmedia icons and go follow me so
(00:56):
that you can be with us at theInternational Autism Summit 2025
, april 25th and 26th.
Can't wait to see you then.
Hi, welcome to the SGA ChildShow.
Today we are going to have awonderful discussion about I
think we can probably sayeveryone's one of everyone's
(01:21):
favorite topics, right?
Music, and I think it is such auniversal thing that really
touches us in so many differentways.
But in this discussion, we'llfind out how we're using it to
enrich lives of those peoplethat we love.
So we are inviting Bryson andis it just pronounced Tarbot?
(01:43):
How do I pronounce your last?
Okay, perfect, bryson is heretoday.
Really great to meet you.
I'm really looking forward togetting into the fascinating and
really just like heartwarming.
I think, as you know, all aroundservices and the company that
(02:05):
you have.
Before we get started,introduce yourself and tell us a
little bit about yourself andkind of what got you into this
and what brought you here, ofcourse, Well, first of all,
thank you for having me.
Speaker 4 (02:17):
I am so excited to see where we can take this
conversation because, just likeyou said, I feel like we could
take it so many different ways.
My name is Bryson Tarbett.
I'm based out of Columbus, ohio, and I'm actually an elementary
music teacher by trade, but Iam currently serving as an
independent instructional coachand elementary music specialist
for my company that MusicTeacher.
I had no intention of everstarting a business or leaving
(02:40):
teaching, but sometimes theuniverse just starts, things
start happening and you juststart taking notice.
I very quickly realized thatthere wasn't a lot of
professional development outthere for elementary music
teachers, especially when itcomes to creating inclusive
environments and sensoryaccessible environments, and I
kind of fell down that rabbithole.
(03:02):
I have ADHD and sensoryprocessing disorder myself, so
it was kind of a natural hyperrabbit hole.
I have ADHD and sensoryprocessing disorder myself, so
it was kind of a natural hyperfixation for me of like, how can
I make my classroom moreaccessible for me as the person
who has to be in it all day?
But also, you know, how can Imake sure that you know?
You talk about how music isuniversal, and we definitely do
we talk about music is foreveryone, but the longer that
(03:31):
I've been doing this work, themore I realize that you know
music is for everyone.
But the music classroom reallyisn't until we, as teachers, do
the work to make sure that it is.
And that's kind of my bigpassion right now is is how can
we, how can we make this moreaccessible, how can we help
these teachers get theprofessional development they
need to do so and just make surethat music is for everyone?
Speaker 3 (03:47):
So that's the journey I'm on right now, so important,
and, you know, it's probablysomething that teachers,
especially music teachers, maybedon't think about or don't
maybe know that they're going toneed when they get into, you
know, from school to their workand kind of what does that look
(04:08):
like in that transition?
But what type of accountability, accessibility mixing of words
here what kind of accessibilitydo you think is important when
starting and how can people takethose steps to make that happen
?
Speaker 4 (04:29):
Yeah, that's a really good question because I feel
like it's so easy to get stuckand I don't know where to start.
So I don't know how to start.
And I think the reality is iswhenever you notice a barrier
for, you know, student access inthe curriculum, or if you
notice a student that isn'tfully engaged or fully involved,
that's a red flag of like, oh,we need to zoom in here, we need
to figure out what's going onhere, what's getting in the way,
(04:53):
what supports can we give, whatthings can we remove to make it
just generally more accessible.
But the answer is gonna bedifferent for every teacher,
every school situation, everystudent.
I developed something calledthe domains of accessibility,
which are really just like fiveplaces to look to get started.
Me personally, as an individualwith ADHD and sensory processing
(05:15):
, I tend to start with sensoryaccessibility because I just
notice how big of an impact thatcan be and how really honestly
small changes on the behalf ofus as the teacher can have a
huge impact in the students thatare in front of us.
But really it all comes down tofinding out what is the first
thing you can do to make it moreaccessible, the first barrier
(05:38):
you can start tipping away atand then, as you start working
on that, start noticing whatother barriers are seeing along
the way.
What's wonderfully terrible isthat a lot of these things about
accessibility they're sointerconnected, hold on.
What's great about the, youknow, and also, quite frankly,
(06:17):
very frustrating about a lot ofthese different domains, is
they're so interconnected thatwhen we start kind of tweaking
around over here, you'll startto notice other areas that are
actually being impacted bydifferent, you know
modifications or adaptations, oreven just noticing it yourself.
You'll start understanding andkind of having a better
understanding of what that lookslike and how that can be, what
that can look to to removebarriers.
But I don't know.
It really depends on so many ofthe different situation.
(06:38):
But the big thing is just togive it a shot and see what
happens and then just keep goingfrom there.
Speaker 3 (06:44):
Yeah, so when we walk into a music room, let's say,
let's talk about maybe some ofthe things like seating, for
example, what type ofaccommodations do you give for
seating?
Speaker 4 (06:59):
So, for me, I was always and I'm for a firm
component of just like I'm not ahuge fan of having a bunch of
furniture in my classroombecause of the way that I teach
is so movement-based, and so itjust requires an empty space.
With that being said, most of mystudents would kind of our home
base would be sitting on thefloor.
(07:19):
Now, obviously, that's notimmediately accessible, so I
would always have other optionsavailable, right, so we would
have chairs as an easy one, somerisers available for students
that might want them or preferthem.
But also, like I didn't reallynecessarily require my students
to sit down all the time,because I know there are some
students that if I give them aconfined space at the back of
(07:41):
you know, if everyone's sittingin front of the chalkboard and
they want to stand behind themand kind of you know pace a
little bit or kind of move backand forth, I'm okay with that,
that's fine.
So that's kind of really allwhat it looks like is just it
can be so many different things,but it really comes down to
what.
Do I really want to get out ofthis as a teacher, right?
Do I really care that all mystudents are sitting down on the
(08:01):
carpet.
No care that all my studentsare sitting down on the carpet.
Speaker 3 (08:11):
No, I want them in their own space listening and
not messing with anyone else,and if they can do that, we can.
It can look a lot of differentways, absolutely, and I really
like that too because it can be.
There can be a lot ofconfinement and really rigid
kind of boundaries set with likemetal chair seating and things,
and that can be really hard tobe comfortable and then to want
(08:31):
to share your talents.
Or it may be if a kid isnervous about playing, then
having to worry about where I'msitting and how it's being noisy
or anything like that, thatwould make me so crazy, Um, and
so I wouldn't like same with me.
You know, um, adhd, so uh,definitely would.
(08:52):
Would really mess with my, mysensory stuff too, and I was and
and I did choir, so it's like,yeah, why do I need to be
sitting?
I need to be standing actuallyto do this good singing, I need
to do.
So.
What about, like instruments?
What type of instruments can becreated to be more inclusive or
(09:16):
to accommodate, maybe, studentswith any type of physical um
needs or accommodations?
Are there better uh instrumentsthat are better for those types
of students, or what does thatlook like?
To kind of.
I guess it's very individualtoo.
What?
Speaker 4 (09:34):
somebody likes isn't it I mean, I always think about
when I, when you think aboutinstruments, is there's the
physical side of it, of you know, can a student, you know, use
proper technique quote, unquoteproper technique with, with the
way that they are, and you know,sometimes we need to, as the
teacher say, you know what,we're not going to have the best
technique, but if they'replaying the instrument, that's
(09:56):
fine.
Obviously, you know, workingwith an occupational therapist
can be really helpful.
I've worked with our schoolbased OT in the past for
students that you know we wereadapting a ukulele to basically
creating a custom pick that hecould grab, or using essentially
a cord buddy, which basicallyis a machine that you have to
push one button instead ofhaving to, you know, move your
(10:18):
fingers around in differentchord shapes to make that a lot
more accessible.
Even something as simple assomething like a mallet cup,
which is essentially like arubber band that goes behind
your hand to help you grasp ontoa mallet for a drum or for an
instrument.
Beyond that, there are so manyways that you can use technology
now to make accessibleinstruments.
(10:40):
One of my favorite it's calledGoogle Creatability.
It's one of those open sourceGoogle projects, um, and they
have a bunch of differentinstruments and musical
activities, um, that use thewebcam and essentially lock you
do.
They engage in body tracking,so I could make my nose the
cursor and I could play, youknow, the xylophone by, you know
, up and down by moving my headleft to right, or you could, you
(11:01):
could even, and you can like,match it to like different parts
of your body.
So, depending on the student,that could be really helpful as
well.
And then also, you know thingslike switches that you can use
to essentially, you know, justhitting a button can turn, can
kind of trigger this chain ofevents.
That's what's really cool iskind of seeing how you know,
like you said, it's soindividual to the student and
(11:22):
what they need and also likewhat the instrument is itself.
One big rabbit hole that I'vegone through lately is we see a
lot of people saying, hey, youknow, we're doing recorder this
year in our class and I have astudent that only has use of one
arm.
What do I do?
And there's this company, Ithink it's called whmi, so one
(11:43):
hand, musical instruments andthe.
They actually createinstruments, uh, wind
instruments, the recorders,clarinet, saxophones, all these
different things, and theyactually re-engineer them so
that they can be used with onehand, which first of all is just
really cool from an engineeringside of it the fact that
they're able to rework that.
But it's also just such a aneeded because, again, that
(12:06):
could be a very exclusionarypart you know, exclusionary unit
in the classroom if we're notreally thinking ahead and
feeling how can we make thismore accessible.
So that's kind of somethingthat I've been.
I've been kind of diving into alittle deeper is are those
adaptive instruments and how,how we can utilize them in a
general music setting adaptiveinstruments and how we can
utilize them in a general musicsetting, and are your?
Speaker 3 (12:30):
this is going to be a little tricky question, but are
your schools generally willingto get those types of things for
those students?
Speaker 4 (12:35):
That is a very tricky question.
For sure I've never had to dealwith or I've never had to work
with, you know, finding aone-handed musical instrument.
I've heard great successstories of school districts
doing that and I've heard somethat it struggles, but I've also
.
You know that, for instance, inmy district we do recorder.
(12:56):
I love the recorder but it'sfine motor intensive, right.
There's a lot of fine motorskills involved in that.
So we were able to source somerecorders that are a little bit
more expensive than atraditional recorder but still
very accessible price-wise, andthe school was able to grab
those for us, which justbasically took out one aspect of
it.
You know they, instead ofhaving to fully cover and seal
the holes, all they had to dowas push it down and it created
(13:18):
a seal on itself.
That alone has been reallyhelpful for some of my students
with fine motor deficits,because they're still playing
the recorder, they're stilldoing everything else.
They just don't have to worrybecause, like a recorder, if
you're not sealed along thewhole or on the long way, it's
not a forgiving instrument.
So getting something like thatI found really helpful.
Obviously, here in the UnitedStates, special education
(13:40):
funding is part of the wayschools are funded.
Special education funding ispart of the way schools are
funded, so if you have aprincipal that knows how to find
where the money is, a lot oftimes that can be a thing that
would be covered through astudent's IEP or special
education funding.
In that way, I love that.
Speaker 3 (13:56):
At least that's the way it's supposed to work, right
?
And now we've covered seatingand instruments.
Let's talk about sheet musicand accessibility, screen
reading, things like that.
What kind of options dostudents have when it comes to
that?
Speaker 4 (14:12):
I mean, that's one of those things where I there are
some music educators out therethat are very firm that you know
students are not to be writingin their notes and their music.
That's, it's a crutch, it's nothelping them.
That, first of all, I'm not oneof those people Like, if you
want to write in your stuff, Idon't care.
But I think you bring up areally good point that there are
just so many options and Ithink that's where you know if
(14:34):
you have.
You know, one of my bestfriends is a teacher of the
visually impaired and we kind oftalk about this every in a
while, never enough, becauseit's another one of those things
where it's typically notsomething that you've had a lot
of experience as a teacher whenyou have a student that has that
need.
So I've never necessarilyworked with a student that has a
severe vision impairment, but Ihave worked with a lot of
(14:56):
students that had a strugglewith tracking left to right.
So for me, one of the bigthings that I would do is to
help with that left to is firstbreak it into smaller chunks.
So instead of having you know100 measures on the first line,
break it up into like five or 10so that they don't have to.
They're able to shift down aline more, they're not moving
left to right.
Me personally, I didn't evenrealize this, as when I was in
(15:20):
high school I would occasionallyespecially if it was a really
big score with lots of things Iwould actually mark where the
measure lines were to show,basically to give me more
anchors to go back and look for.
I didn't realize that.
That was, you know, part of theway that I process things and
it made that helpful One of myfavorite examples of making
(15:41):
sheet music more accessible,which, first of all, you don't
need sheet music to be a greatmusician.
I'm just going to put that outthere and we're probably going
to make some people mad withthat, but like, yes, music
literacy is very important, butit doesn't it doesn't the only
thing, but anyway, one of myfavorite things that I've ever
done to make sheet music moreaccessible was color coding it.
It was my first year of teaching.
We had a student that when Igave her the recorder, she was
(16:04):
really understanding of.
You know.
A, b I'm going to put the thumbin the first finger.
A, I'm going to put thumb,first finger and second finger,
and then she could also read themusic.
If it's on the middle line it'sgoing to be a B, if it's on the
space below that it's an A.
But connecting the two there wasa disconnect.
So for that student Iessentially grabbed some binder,
reinforcer, the little circlelabel things, I put them over
(16:29):
the holes in the recorder and Igrabbed some whatever
highlighters I had in my deskand essentially color coded so
blue is B, purple is A orwhatever, and then I color coded
her music just by highlightingdifferent notes.
Not only was that giving hersome more visual cues of where
how to get back you know, ifshe's going back and forth, how
to come back but it also createda different type of connection,
a color connection that allowedthat student to be successful.
Did all of my students needthat?
No, could any of my studentsthat wanted to do that do that?
(16:52):
Sure, but that's one of myfavorite ways to kind of make
that a little bit moreaccessible.
Speaker 3 (16:58):
Yeah, no, I really like that.
I think that that's a good ideaand there's just so many
different types of learning thathaving that knowledge of the
different types of learning andthen you know, putting that into
your teaching is so important,especially well, just in,
especially in, special education, but with and we're really with
everything, because you canreally hone in and help those
(17:22):
students nurture their skillsand their talents and those
things that they really love.
What type of encouragement ordo you guys do, like concerts or
, you know, talent shows, thingslike that?
What kind of special events doyou guys do with your kids?
Speaker 4 (17:41):
The way that my district always was is
essentially every grade levelhad a showcase night.
They had a concert every nightor every oh, not every night,
goodness every year.
And you know it lookeddifferent every year, but I
tried to design it in a waywhere it wasn't just doing the
same thing.
So, for instance, kindergartenwas basically I would invite the
teacher or the students, no, Iwould invite the parents, the
(18:03):
grownups, to essentially justwatch a lesson in the way that I
would normally teach it.
Just, I had all of mykindergartners all at once.
Um, just like show what's goingon.
Fourth grade was always ourrecorder concert.
Um, third grade, we always dida family folk dance night where
we got to bring them you know,bring families in and teach them
what we're doing.
And and the reason I did thatwas a few reasons.
(18:23):
One I didn't want it to beboring or the same thing every
time.
You know I don't want it to.
I'm fully aware that not everystudent likes to stand up there
and sing in front of people.
So by giving them differentoptions, that alone just makes
my classroom a little bit moreaccessible, because we're not
just doing the same thing, we'retrying, we're activating and
(18:45):
using music in so many differentways.
But beyond that, I also wantedto allow students to have things
that were kind of leveling.
One of the things that I noticedvery early on in my career is
if a student was struggling withreading, they would, you know,
if they started struggling withreading in first grade.
They tend to struggle, you know, hopefully improving, but they
(19:06):
tend to still struggle, as youknow, compared to their peers,
as they grow.
When they get to that thirdgrade, fourth grade year, that's
where really the social deficitcomes in, because they're
starting to realize that I'm,you know, like they.
They they kind of put up a walland they don't want to try new
things because it could meanthey could fail.
My favorite part about therecorder, which we'd always did
in fourth grade, is nobody hasever played the recorder before.
(19:28):
So everybody's back on thatsame page.
And I've seen some of mystudents who academically
struggled the most and and youknow, needed the most supports
and the most most um, you know,one-on-one assistant.
I've seen them activate so muchbecause it is something that
they're able to be on the samelevel as their peers.
(19:48):
And I don't know people, somepeople, let's be honest, a lot
of people hate the recorder.
Even in the music, music edcommunity there's a lot of
teachers that don't know people,some people let's be honest, a
lot of people hate the recorder.
Speaker 3 (20:00):
Even in the music, music and community there's a
lot of teachers that don't teachrecorder, but that right there
is exactly why I will alwaystalk about the praises of why a
recorder should be part of anelementary music.
Yeah, I think that that's areally great point to make make.
It can be a really big strugglefor kids when they have that
(20:21):
identification that they arebehind or, you know, and not
only with one or two, but with agroup or the entire class, if
that is the matter.
So, yeah, that's really, that'sreally tricky, and it kind of
got me thinking, as, as you weretalking about that, what does
that look like?
What other options can we giveto kids who, you know, don't
(20:41):
want to have an instrument,don't want to sing, they don't
want to dance?
Can we offer things like musicproduction and these are some of
the things we do behind thescenes Like what does that look
like?
Speaker 4 (20:52):
Yeah, so COVID obviously did a number on
education in general, but musiceducation what a lot of, a lot
of things came out of that.
I mean, for instance, evenwhere I was teaching out in a
pretty rural area, there wasmaybe up most of a year so I was
able to sing in my classroomfor about a month because of the
(21:15):
requirements that the countyhad set.
So that's a lot of what I didin my in my classroom.
You know I can't justsupplement a recorder because
that's the same problem.
So we you know me and a lot ofother music educators we started
realizing what else is there,and I as much as COVID was a
really rough time.
(21:36):
One of the really good thingsthat came out of me personally
was realizing that some of thestudents I thought just really
didn't really care about music.
They were very musical, theyjust didn't want to perform.
So by being able to bring inaspects of like, what other jobs
are out there in music, whatare some other things in there?
You know, part of COVID was weall got, you know, all the
students were able to haveChromebooks so we were able to
(21:56):
use digital audio workstationsand mix our own music and stuff.
And seeing some of thosestudents that traditionally
would not have been quoteunquote a success story in my
classroom really kind of shiftedmy own thinking about what
music should be in this type ofsetting.
Now there's a bigger discussionthat needs to be had and
(22:17):
thankfully is starting to be hadabout, you know what do we do
with high school music Band andchoir is not the only thing and
you know how can we get more ofthis music production, music
business, and there's so muchout there that I think there's a
great conversation happening inthe music education community
of how do we connect the realityof what music is in their
(22:38):
at-home lives to what we what itlooks like in our schools,
because right now there is adisconnect and I think we're
starting to make some, someshifts.
But yeah, there's, music is foreveryone.
We just need to make sure thatwe've we've done the work to
make sure it is.
Speaker 3 (22:52):
I love that.
Let's come back around to thatmusic teacher and talk about how
that came about and what it ismeans to the teachers and music
teachers out there now.
Speaker 4 (23:09):
I.
It was a complete accident.
I had no intention of everdoing this, um, essentially,
what it what it was, whathappened?
What it what happened was, um,I left undergrad.
I graduated in the fall, so Ihad, you know, the vast majority
of the school year um ahead ofme, but I wasn't teaching music.
So I actually spent themajority of my first year out of
(23:30):
undergrad, um working as aspecial education assistant.
I loved it, um, but I missedthe music classroom.
So I created an Instagramaccount that music teacher and
just basically followed as manymusic teachers as I could find
so I could live vicariouslythrough them.
That's how it all started.
And then I started.
When I started teaching, I juststarted sharing my own
experience what was working,what wasn't.
(23:51):
I accidentally createdessentially a diary of my entire
teaching career, which isreally weird to look back on.
And in 2020, when COVIDhappened, like a lot of us no,
us music teachers didn't knowwhat we were doing I thankfully
had one resource that basicallyblew up and was really, really
(24:13):
helpful in this time, and that'show I realized, oh, there's
something here.
So I, you know, I formallyregistered my LLC and that was
kind of the beginning of what wehave now.
We do virtual summits and wehave a membership that has
professional developmentopportunities, because the big
thing we realized is thatteachers want, you know, music
teachers.
We really want to do more.
(24:34):
We just don't know how to getstarted or where to find that
information.
We jokingly refer to it as musicteacher island, because the
reality is we're likely the onlymusic teachers in our building.
Some of us are even the onlymusic teachers in our district.
So if we're going to get thosenew ideas, that collaboration,
that professional development,it's not going to come from our
(24:54):
schools.
So that's kind of how we, youknow.
Again, I never meant to do this, but I'm so glad I get to and
I'm so glad I get to impactclassrooms beyond my own.
I'm not going to lie.
It was a very tough decision toleave the classroom because I
love the people I work with, Ilove the students I got to work
with, but being able to workwith teachers all over the world
(25:16):
and see how the work that I wasdoing and the work that I was
able to facilitate and connectpeople was creating such a more
lasting impact that I had to atleast give it a shot.
And that's where we're at rightnow is how can we get more
professional development in thehands of the teachers all over
the world?
Speaker 3 (25:33):
Yeah, I couldn't agree with you more.
And so what does that look likewhen they go to your website?
What do they, what will they belooking for?
How do they reach out to you?
Kind of what's that process.
Speaker 4 (25:46):
Yeah.
So on our main site,thatmusicteachercom, we have
some freebies about halfway downthe page that you can download
to kind of dive in a littledeeper Up in the top right bar
we have the Elementary MusicSummit.
That is our big professionaldevelopment conference that
we'll be having this summer.
We have a wait list there rightnow.
Those are kind of the big waysthat you can get in contact with
(26:08):
us and kind of see some of thework we do.
And as we do more and we startmaking more connections, that's
where we'll keep things updatedoh, and keep growing, definitely
.
Speaker 3 (26:19):
And what about your instagram?
Is that still going?
Can you share that with us?
Speaker 4 (26:23):
and yes, so our instagram.
It's changed a little bit, youknow, in the ways that we run
and what we post, but we stillpost lots of content about
elementary music, specificprofessional development and
that is at that, music teacher.
Speaker 3 (26:37):
Perfect.
See if my typing is going to beworking here.
I think we got it.
There it goes, that musicteacher.
So go and follow those socialmedias.
Check out the website that musicteacher dot com and you can
learn more about professionaldevelopment and how to make your
(27:01):
music and your room yourteaching styles sounds like a
whole bunch of things accessiblefor an inclusive environment.
Some ideas and you know, I lovethat you said that because it
is a small, you know, group ofpeople in the community that are
(27:24):
the music teachers, and it's sowonderful that you're creating
this place to kind of cometogether, and I also hold
summits, and so I know howspecial and wonderful they can
be and how you can really bringpeople together in such an
amazing way.
They get so much out of it whenthey walk away from it and
(27:44):
they've been able to get ideas,like you said, that wouldn't
otherwise be available to themthrough their district, the
other teachers that they'reworking with, so I really love
those ideas.
It's been so wonderful gettingto know you today.
What's next?
What's coming up?
Anything other than the summitin the summer.
Speaker 4 (28:08):
Honestly, right now we are just, you know, heads
down planning for the summit.
We're hoping this is going tobe the biggest one yet and we're
really excited to be able to tokind of keep working on that.
With that being said, I thankyou so much for having me.
I love being able to share thepart of the journey and anyone
that I'm able to impact and help, you know, make, make something
(28:29):
a little bit more inclusive andand share that.
While music sometimes,historically, can get very
elitist and classist and ableist, I think the reality is that
there are so many people withtheir boots on the ground that
are trying to change that image.
Speaker 3 (28:43):
Yeah, absolutely, and you're one of them.
So thank you so much inpioneering this type of services
for music teachers around theglobe.
Really, if I'm sure that anyonecan reach out to you, so please
do that and go, follow and besupportive and find out how you
can make a better, inclusiveclassroom environment, home
(29:07):
music room for your kids ifyou're a homeschool home teacher
.
So let's just make thesechanges and help change this
world into a better place.
That's what we're doing.
So thank you so much, bryce,and it was so great to get to
know you.
I really look forward tohearing more about the summit.
Hopefully get back to me aroundthe summertime.
(29:27):
Let's have you back on and do acouple lives, maybe, and send
some extra people your way thatyou know love music as well.
Speaker 4 (29:35):
That would be wonderful, thanks so much for
having me.
Speaker 2 (29:55):
I look forward to staying in touch.
Thank you so much.
In the heart of the city, she'sshining bright.
Oh yeah, stories of love andcourage All throughout the night
, her voice resonating An anthemfor all.
Through the trials and thetrials, she answers the call.
Her mother and her fatherBreaking barriers and strife,
(30:16):
with love as her guide.
She'll never hide.
She's changing the world foryou With her heart and speech
and strong Empathies and melody.
In her journey we all belong.
Followers gather like stars inthe night.
(30:37):
So bright, 44,000 voicessharing in the light.
She stands for family,advocates for more, a movement
of compassion, ways we'll soar.
Podcasts together Symphony ofsupport Creating life Changing
rapport.
Podcast together symphony ofsupport Creating life changing
report.
She's changing the world foryou With a heart that's fierce
(31:02):
and strong.
Empathies, a melody, a journeywe all belong.
Through her eyes, a visionclear.
Together we riseding fears.
In every heart, she plants theseed of understanding and love
for dearly me.
She's changing the world foryou With a heart that's fierce
(31:39):
and strong, empathies andmelodies In a journey we all
belong.
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