[…] for many people with autism, similarity and sameness, in the form of predictability and love of routine, are particularly important. It is as though music, with its reliance on repetition could have been especially devised for those on the autism spectrum (p. 99).
This is a well-written book which combines both theory and practice. It begins with a description of the complexities of language and of just how difficult it is to acquire language and to understand and interpret meaning. This is followed by a description of the ways in which we respond to music on an emotional level. The author calls this zygonic theory. He describes in detail how musical structure depends on the relationship between different notes. He also explains the differences between language and music. Language is primarily symbolic, whilst music evokes emotional responses which then acquire “meanings” through their connections and associations with events.
The book goes on to describe how musicality develops, describing an ongoing project called “Sounds of Intent” (http://soundsofintent.org/) for the investigation and promotion of musical development in children who have a variety of additional needs. The Sounds of Intent framework allows three domains of musical engagement to be described:
1. reactive – which includes listening and responding;
2. proactive – which includes causing, creating and controlling; and
3. interactive – where either of the above occur with other people.
Each of these domains may be broken down further so that it is possible to produce a “Sounds of Intent” profile for any individual.
The book then explores the connections between language and musical development. The author concludes that, at early stages of communication and musical development, children do not make distinctions between sounds as having differential meaning in terms of communication or music. Although some of the work on how communication is co-constructed between participants could be given more consideration here, the author presents interesting ideas about how music and language may fit together.
Having provided a theoretical background, the book goes on to provide many examples of the importance of music to people with autism spectrum conditions. The author correctly notes that music can provide:
Motivation to use language – through songs.
Simplicity and consistency – for example, through a specific spoken phrase and melody used to signify something. This can, for example, be used in the way that you might use an object of reference to signify a transition.
Additional interest to language whilst structuring it tightly – providing direct repetition that might be very important and useful.
Adam Ockelford is well-known for his work on documenting and supporting the development of musical talents in people with autism spectrum conditions. The book discusses the “exceptional early cognitive environment” of the child with autism, typically including: difficulties in processing language; disruption to the functional significance of everyday sounds; and enjoyment of detail and pattern.
People with autism spectrum conditions are reported to be 500 times more likely to have perfect pitch than people in the general population. Perfect or absolute pitch is the ability to recognise each musical sound heard without the need for any additional reference point. One theory used to explain autism spectrum conditions is that people have weak central coherence. According to this theory, people with autism spectrum conditions are much better at focusing on detail and have difficulties in seeing the whole form or meaning. The author suggests this may partly explain why some might develop particular auditory skill, though he acknowledges that people are often visual learners. Perfect or absolute pitch is thought to emerge at the same time as spoken language begins to rapidly develop. The author suggests that, in some cases, musical ability “substitutes entirely for language” (p. 241).
The book notes that 5 per cent of people on the autism spectrum have exceptional musicality in combination with an uneven pattern of cognitive development. How should we respond to such children? Ockelford is a strong advocate for early, specialist provision that can “minimise the impact of disability through maximising musical potential” (p. 259). While, in many respects (the provision of recognition, opportunities and an individualised approach) these children's needs are similar to those of all children, the book, unsurprisingly, draws attention to the specifically music-related elements of provision. Reducing the amount of talking that we do when we are working with such children may be important, as this can be at worst a barrier to their development and at best auditory clutter. Of course, the music we are making or playing should be “irresistible” to the child and closely responsive to the child's own reactions.
