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You can’t have inclusion without music: utilizing music performance to inform caregiver-selected service outcomes for youth and adults on the Autism spectrum from communities of color

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You can’t have inclusion without music: utilizing music performance to inform caregiver-selected service outcomes for youth and adults on the Autism spectrum from communities of color

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Content You Can’t Have Inclusion Without Music: Utilizing Music Performance to Inform
Caregiver-Selected Service Outcomes for Youth and Adults on the Autism
Spectrum From Communities of Color
Ifunanyachukwu Nweke
Rossier School of Education
University of Southern California
A dissertation submitted to the faculty
in partial fulfillment of the requirements for the degree of
Doctor of Education
May 2024

© Copyright by Ifunanyachukwu Nweke 2023
All Rights Reserved

The Committee for Ifunanyachukwu Nweke certifies the approval of this Dissertation
Patricia Tobey
Courtney Malloy
Kimberly Hirabayashi, Committee Chair
Rossier School of Education
University of Southern California
2023

iv
Abstract
This qualitative study explored the perceptions, experiences, and beliefs of caregivers and
parents from communities of color regarding music performance on their children with ASD and
how these perceptions affect service selection. A retrospective pre-post design was employed for
this study, whereby data was collected through semi-structured interviews with 23 questions
informed by the AIR Self-Determination Scale. Findings for this study indicate that parents
seeing their children engage in active participation in an intervention, specifically music
performance, that highlights varied skills and promotes prosocial behavior allows them to see
their children display resilience. This resilience emerged as an anchor for altering parents’
perceptions of their children’s capabilities and thus expanded the scope of services they selected
and advocated for on behalf of their children. Findings from this study urge policy makers,
funders, advocacy organizations, and service providers, including regional centers and school
districts, to consider the impact of increasing access to music education with an onstage
performance component, especially for youth and adults with ASD from communities of color.

v
Acknowledgements
The road to Dr. Bae, Ed.D. was tough. It required me to make sacrifices with my time
and emotions and even caused me to question who I am, what I stand for, and the source of my
confidence.
I would not have made it all the way through without the support of my village. My
parents, my brothers, my sister-in-law Erin, my nieces, my close friends including Rita Ohaya,
Shawntel Okonkwo, Ijenne aka Blockie, and my mentors Michelle Christie, Tim Tatsui, and Pat
Shields; all these people held me up when my intrusive thoughts and imposter syndrome tried to
keep me down.
I am also eternally grateful for the team, students, volunteers, interns, and board members
at Jazz Hands For Autism who inspire me daily and give a landing place and launching pad for
my ideas and ambitions, ambitions to make our world more inclusive through edu-tainment.
Finally, I would like to thank my cohort mates, my dissertation committee, and all the
wonderful faculty I had a chance to learn from during my 3 years at Rossier.
This doctoral process has changed me forever. I am still shook that I did it, still shook
that my lifelong goal has been accomplished.
In the words of DJ Khaled, GOD DID! It’s only up from here.

vi
Table of Contents
Abstract.......................................................................................................................................... iv
Acknowledgements..........................................................................................................................v
List of Tables ............................................................................................................................... viii
List of Figures................................................................................................................................ ix
Literature Review.............................................................................................................................3
Parents as Gatekeepers of Services and Activities and a Gateway to Increased Service
Utilization ............................................................................................................................5
Music Performance as a Culturally Relevant Tool to Highlight Ability in Youth on the
Autism Spectrum .................................................................................................................7
Theoretical Foundations.................................................................................................................10
Positionality ...................................................................................................................................12
Methods..........................................................................................................................................13
Research Questions............................................................................................................14
Participants.........................................................................................................................14
Instrumentation ..................................................................................................................15
Data Collection ..................................................................................................................15
Data Analysis.....................................................................................................................15
Findings..........................................................................................................................................16
Research Question 1: What Are the Perceptions That Caregivers From Communities of
Color Have Regarding the Impact of Music Performance on Their Youth or Adult
son/daughter Son/Daughter on the Autism Spectrum?......................................................19
Research Question 2: In What Ways, if Any, Does Music Performance Affect the Beliefs
That Caregivers From Communities of Color Have About the Growth and Development
of Their Youth or Adult son/daughter on the Autism Spectrum?......................................33
Discussion......................................................................................................................................43
Implications and Recommendations for Future Research .................................................45
Limitations.........................................................................................................................47

vii
Conclusion .....................................................................................................................................47
References......................................................................................................................................50
Appendix A: Definitions................................................................................................................67
Appendix B: Recruitment Flyer.....................................................................................................68
Appendix C: Interview Protocol ....................................................................................................69
Introduction........................................................................................................................69
Information Sheet...............................................................................................................70
Questions (With Transitions).............................................................................................70
Appendix D: Pre-Interview Survey ...............................................................................................74
Appendix E: Results From the Original Pre-Interview Survey .....................................................75
Appendix F: Full List of Codes .....................................................................................................76
Appendix G: Results From This Google Form..............................................................................80

viii
List of Tables
Table 1: Demographic Data of Interviewees and Their Children 19

ix
List of Figures
Figure 1: Friend-Making Theme 1 29
Figure 2: Friend-Making Theme 2 31

1
You Can’t Have Inclusion Without Music: Utilizing Music Performance to Inform
Caregiver-Selected Service Outcomes for Youth and Adults on the Autism
Spectrum From Communities of Color
Caregivers, such as parents and legal guardians, play a key role in the development of
youth who are on the autism spectrum (ASD). On their children’s behalf, they recruit appropriate
and applicable interventions and services (linked to positive outcomes) that align with their
perception of their child’s abilities as these children age into adulthood (Ennis-Cole et al., 2013;
Holmes et al., 2018; Kirby, 2016). However, caregivers from communities of color have
significantly less access to culturally appropriate, relevant, and applicable interventions and
resources, and this may affect their perception of their child’s abilities and limit their ability to
advocate for positive outcomes on their children’s behalf (Burkett et al., 2015; Yeh et al., 2004).
According to Public Counsel (2017), regional centers (defined in Appendix A) that
support communities of color (predominantly Black and Latinx populations) authorize the lowest
purchase of services (Public Counsel, 2017). These disparities are due to factors including race,
socioeconomic status (SES), provider bias, and cultural factors, specifically the mismatch
between available/recommended interventions and familial (cultural and home) systems
(Eilenberg et al., 2019; Jones et al., 2020; Lisboa et al., 2021; Milgramm et al., 2021; Public
Counsel, 2022; Singh & Bunyak, 2018; Steinbrenner et al., 2022). Much of the contemporary
research exploring the tension between available or recommended interventions and familial
systems points to the frequent mismatch between the cultures of families from communities of
color and those of service providers. However, the ways that subcultures like familial culture,
home systems, and activities of daily living (ADLs) affect services that caregivers select have
not been well studied (Kagawa Singer, 2012; Singh & Bunyak, 2018).

2
Interventions that consider the cultural assets that communities of color use in ADLs may
widen caregivers’ perceptions of the types and scope of services they implement on behalf of
their children with ASD (Cascio et al., 2021; Milgramm et al., 2021; Pearson, Stewart, et al.,
2021; Saarikallio, 2013). Music is both an easily accessible cultural asset for communities of
color and a mainstay in existing ADLs for a majority of families in these communities
(Saarikallio, 2013). For instance, music is deeply embedded in communities of color as a tool for
healing, communication, empowerment, and community (Bonny, 1986; Chiang, 2008; Moreno,
1995). Additionally, many homes in communities of color report using nontraditional
interventions, such as extensive use of music, in ADLs (Ennis-Cole et al., 2013; Saarikallio,
2013). Given that a fundamental feature of Part C of the Individuals with Disabilities Education
Act (IDEA) is providing support to families in their natural environment and daily routines,
interventions that consider music could improve caregiver perceptions and thus potentially
increase the scope of services selected on behalf of youth on the autism spectrum (Burkett et al.,
2015; Early Childhood Technical Assistance Center, 2021; Ennis-Cole et al., 2013; Pearson,
Stewart, et al., 2021; Singh & Bunyak, 2018; Tincani et al., 2009).
Caregiver perception, which has been operationalized to include the caregiver’s
expectancies for future outcomes and values, affects access to services because the caregiver’s
perceptions of the child’s abilities influence the types and frequency of services they select. This
means that if a caregiver believes an intervention will not match their child’s skill level (fitness),
there is a lower likelihood that they will select it. Thus, the more able a caregiver perceives their
child to be, the wider range of interventions they will make available to that youth (Ravindran &
Myers, 2012). This assertion is further supported by expectancy-value theory (EVT), a culturally
responsive and context-specific framework that aids in examining the relationship between

3
caregiver expectations for success (fitness), caregiver choices/selections of available services
(access), and youth achievement outcomes (outcomes). Thus, consideration of cultural assets in
the service or intervention choices made available to caregivers from communities of color may
increase access to services by improving caregivers’ perceptions regarding the fitness of
available and recommended interventions. Framing music as a cultural asset, the purpose of this
study was to explore the perceptions, experiences, and beliefs of caregivers from communities of
color regarding music performance on their children with ASD and how these perceptions affect
service selection.
In the remainder of this article, I began by summarizing the literature and discussing the
theoretical foundations guiding the research questions:
1. What are the perceptions that caregivers from communities of color have regarding
the impact of music performance on their son/daughter on the autism spectrum?
2. In what ways, if any, does music performance affect the beliefs that caregivers from
communities of color have about the growth and development of their son/daughter
on the autism spectrum?
Following the literature review, I delved into the qualitative methods used to collect and analyze
data for this study, and finally, I presented findings, a discussion and implications of these
findings, and conclusions drawn from the findings.
Literature Review
The literature reviewed for this study and the theoretical frameworks undergird a
conceptual framework with three key components. The first is poor outcomes along the lifespan
for youth and adults on the autism spectrum (YA-ASD) from communities of color. This
population has the lowest rates of self-determination and the lowest educational and employment

4
outcomes. The second is that the types of services made available to YA-ASD via their
guardians/parents largely determine these outcomes. These services are further determined by the
range of services of which guardians/parents are aware and how able and capable they perceive
their child is to participate in and gain value from these services. Third, introducing
guardians/parents to interventions that are culturally relevant and align with ADLs, such as
music performance, can help expand their perception of the child’s abilities and the range of
services they make available to their sons/daughters, improving the child’s outcomes.
Outcomes for Youth With ASD from Communities of Color
Outcomes along the lifespan for YA-ASD tend to be poor and are exacerbated as they
transition into adulthood (Cholewicki et al., 2019; Kirby, 2016). Widespread disparities exist in
socialization, post-secondary opportunities, and employment outcomes between typically
developing youth and youth with ASD from communities of color (Eilenberg et al., 2019; Jones
et al., 2020; Singh & Bunyak, 2018). Studies find that youth from racial and ethnic minorities are
less connected to post-secondary education than their White peers, less likely to be selfdetermined, and less likely to receive specialty services and interventions (Eilenberg et al., 2019;
Steinbrenner et al., 2022). These findings are particularly concerning because limited
involvement in post-secondary outcomes is linked with poverty, isolation, and poor mental
health (Eilenberg et al., 2019).
Youth with ASD from communities of color also have the lowest rates of selfdetermination among all young adult groups, including those with intellectual and/or learning
disabilities, and these findings are linked to disparities in access to services and a reduced variety
of services and interventions made available (Cheak-Zamora et al., 2020; Chou et al., 2015;
Eilenberg et al., 2019; Stahmer et al., 2019; Wehmeyer et al., 2012). As aforementioned, health

5
reports show that California regional centers that support a majority of individuals with
developmental disabilities from communities of color spend significantly fewer dollars on
services, including life skills support and vocational training (Public Counsel, 2017). Given that
self-determination is linked to positive educational and employment outcomes and generally
higher quality of life, diminished self-determination can be a strong predictor of the poor
outcomes indicated above (Wong et al., 2021). Furthermore, several studies have found that
caregiver and clinician perceptions of self-determination in youth with ASD have a significant
impact on the types of services recommended and ultimately selected on behalf of that youth
(Harkins Monaco, 2018; Rea-Amaya et al., 2019; Sosnowy et al., 2017; Zheng et al., 2014).
These caregiver perceptions may further impact the disparities in access to services seen among
communities of color.
Parents as Gatekeepers of Services and Activities and a Gateway to Increased Service
Utilization
In general, caregivers play a major role in the types of activities youth participate in as
they transition into adulthood; however, this role is much more pronounced for youth on the
autism spectrum (Eilenberg et al., 2019; Kirby, 2016; Rea-Amaya et al., 2019; M. Wilson et al.,
2018). Although the locations where these youth live vary between the family home, a
community-based residential facility, or support in their own home, caregivers still have a
significant influence on the activities in which they participate (Beadle-Brown, et al., 2014;
Eilenberg et al., 2019). These caregivers decide on service selections, from classroom
interventions to interventions employed at home and the types of extracurricular activities in
which youth on the autism spectrum participate.

6
The types of activities in which youth on the autism spectrum participate influence their
outcomes. Traits like self-determination are linked to the types of activities, positive educational
and employment outcomes, and higher quality of life (Nota et al., 2007). However, as
aforementioned, youth on the autism spectrum from communities of color have the lowest rates
of self-determination (Cheak-Zamora et al., 2020). Given that self-determination is largely
fostered by and contributes to opportunities for autonomy and choice making and that caregiver
perception and expectations frame service selections, interventions that alter caregiver
perceptions may be associated with improved outcomes for these youth (Nota et al., 2007;
Thomas et al., 2017; M. Wilson et al., 2018). Thus, through service and intervention selection,
caregivers act as gatekeepers who mediate outcomes for success (Eilenberg et al., 2019; Holmes
et al., 2018; Kirby, 2016; Rea-Amaya et al., 2019; M. Wilson et al., 2018).
Caregivers’ perceptions of ability within the youth they support heavily influence their
service selection, and these perceptions are linked to cultural factors (Wigfield et al., 2018, p.
166). Even when controlling for demographic factors such as race, socioeconomic status, and
gender, caregiver perceptions (operationalized as general ideas and beliefs parents have about
what is realistic and attainable for their children) are strong predictors for intervention selection
and implementation outcomes in multiple developmental areas (Dell’Armo & Tassé, 2018;
Holmes et al., 2018). This is further supported by EVT, a culturally responsive framework that
purports that three constructs informed individuals’ choices: beliefs about abilities, expectancies
for success, and achievement task values (Anderman, 2020; Eccles & Wigfield, 2020).
Additionally, studies also highlight the relationship between culture and (a) the types of
expectancies caregivers hold and (b) services caregivers of youth on the autism spectrum have
access to and select for their son/daughter with ASD (Dell’Armo & Tassé, 2018; Sosnowy et al.,

7
2017; Tincani et al., 2009). Cultural assets, such as music, that improve caregiver-child
interaction and improve and display socio-communicative abilities may have positive
implications on the range of interventions caregivers from communities of color select on behalf
Leeof the youth on the autism spectrum whom they support (De Vries, 2021; Hernandez-Ruiz,
2019; Lisboa et al., 2021; Pasiali, 2012; Rea-Amaya et al., 2019; Stahmer et al., 2019; G.
Thompson, 2012; G. A. Thompson et al., 2013; Tincani et al., 2009; Williams et al., 2012).
Music Performance as a Culturally Relevant Tool to Highlight Ability in Youth on the
Autism Spectrum
Music performance has far-reaching effects on the performer and the audience. There is
no shortage of literature on the effects of music on skill building and demonstration in a
performer and its effects on the audience’s emotions and perceptions (Altenmüller & Schlaug,
2013; G. B. Wilson & MacDonald, 2019). Active and extensive engagement with music (i.e.,
music training and education) promotes neuroplasticity and the learning of new skills for youth
with ASD (Hallam, 2010; Mastnak, 2022; Molnar-Szakacs & Heaton, 2012; Sharda et al., 2018;
G. B. Wilson & MacDonald, 2019). While the effects of music education are well studied, much
less discussed is the far-reaching impact of music performance, which typically follows periods
of music training and education. The impact of music performance is parallel to the age-old
idiom, “If a tree falls and there’s no one around to hear it, does it make a sound?” Written or
notated music has little to no impression on the listener or audience. Rather, it is the listener or
audience’s reception or perception of a previously heard or current performance that creates the
emotional response (Cochrane et al., 2013; Leech-Wilkinson, 2013). As Leech-Wilkinson
purported, the emotional effect of music is most closely attributed to the way the music is
performed. It is the performance aspect that carries the power to alter the perceptions of audience

8
members by engaging both the performer and audience in a reciprocal exchange of information
and value.
Music performance could provide an accessible platform for youth with ASD to display
increased technical and communicative ability (Geretsegger et al., 2014; Heaton, 2009; Mehr et
al., 2019; Molnar-Szakacs & Heaton, 2012; Quintin, 2019). Firstly, in clinical observations,
music has been found to be a more secure mode of communication than verbal communication
for individuals with ASD due to its effects on reducing anxiety related to communication
(Mastnak, 2022; Quintin, 2019). Additionally, music has been shown to promote equitable
learning outcomes for these individuals by scaffolding information and building motivation
(Hallam, 2010; G. B. Wilson & MacDonald, 2019). Thus, regardless of skill level, music
performance requires complex cognitive abilities, including self-scaffolding in the form of
segmentation of sequence of actions, understanding the hierarchical structure of activities,
temporal management, simultaneous planning and execution of tasks (Acquadro et al., 2016;
Drake & Palmer, 2000; Habibi et al., 2016; Keller & Koch, 2008; Krueger, 2013).
Because music performance is a catalyst and modifier of social interaction between the
performer and the audience, it could provide a platform for youth with ASD to shape the
emotional and perceptions their caregivers have of their abilities. Music performance shapes the
audience’s emotional experiences through auditory mirror neurons, which impact the perception
of a musical performance by causing the observer or audience member to neurologically mimic
(or mirror) the actions of the performer. The concept of mirror neurons positions the performer
as a conduit of the emotional effects of music, which results in joint sense-making and coconstructed meaning between the producer (performer) and the receiver (audience; Acquadro et
al., 2016; Krueger, 2013). Regardless of the emotion being evoked in the audience, the ability of

9
the performer to be the conduit of that evocation is, in itself, skillful (Leech-Wilkinson, 2013).
Thus, it is possible that seeing their son or daughter performing on stage could alter the level and
scope of skills and abilities that caregivers perceive their youth to possess (Cochrane et al., 2013;
Lisboa et al., 2021; Molnar-Szakacs & Heaton, 2012; Wiles et al., 2012). For this reason, music
performance might be a tool that can alter how capable caregivers perceive their youth to be,
thus affecting the types and scope of services they select on behalf of said youth (Colling &
Thomson, 2013; Krueger, 2013; Leech-Wilkinson, 2013; Shoda et al., 2016; Straus, 2014).
Caregiver perception is linked to parent-child synchronicity, and music is proposed to
function as a mediator that enhances parent-child synchronicity, which has positive effects on
parent responsiveness to child communication, parent service selections, and, ultimately, child
outcomes (Hernandez-Ruiz, 2020). This sort of synchronicity is displayed in joint music-making
interventions implemented with youth on the autism spectrum. For instance, volumes of studies
show a connection between joint music therapy, where the child and the music therapist take
turns leading the music exercise, and an increase in the child’s leadership and confidence,
operationalized here as self-determination (Geretsegger et al., 2014; Lisboa et al., 2021;
Pavlicevic, 2012). This sort of leadership allows the student to visually display an understanding
of a musical prompt by performing a musical response in front of an audience (Geretsegger et al.,
2014; Lisboa et al., 2021). Joint musical communication and exchange of this sort also takes
place as an audience member watches a musical performer on stage, influencing audience
members’ perception of the performer’s abilities. If music interventions provide youth with ASD
with accessible opportunities to confidently demonstrate their musical skills on stage, it may be
an effective tool to influence the perceptions of their caregivers who attend that performance as
audience members (Rea-Amaya et al., 2019).

10
Finally, interventions like music performance have been shown to be relatively easy to
incorporate into family activities and could be an intervention with a lower barrier to
implementation for caregivers of color due to its alignment with home culture and its presence in
daily routines and ADLs (Goin-Kochel et al., 2007; Hernandez-Ruiz, 2020; Milgramm et al.,
2021; Singh & Bunyak, 2018; Tomczuk et al., 2021). Music performance is a low-cost way to
build socio-communicative and adaptive skills reported to be generalizable to various other
domains (Bhatara et al., 2010; Geretsegger et al., 2014; Immordino-Yang et al., 2018; Quintin,
2019; Sharda et al., 2018; G. B. Wilson & MacDonald, 2019). Music performance may alleviate
disparities in access to services for caregivers from communities of color who support youth on
the autism spectrum by providing an accessible, culturally responsive intervention that positively
influences their perceptions and expectations of ability within and, thus, the services they select
for their youth (Bowker et al., 2010; Holmes et al., 2018; Rea-Amaya et al., 2019; Stahmer et al.,
2019).
Theoretical Foundations
Using intersectionality and EVT to frame the growing disparities in access to services for
youth and adults with ASD, it is evident that these disparities connect to (a) the culturally
relevant services and interventions made available to their caregivers and (b) how well the
caregivers perceive these services to fit with the abilities of the youth with ASD they support
(Burkett et al., 2015; Eilenberg et al., 2019; Kirby, 2016; Mazzotti et al., 2020; Pearson, Stewart,
et al., 2021; Sosnowy et al., 2017; Stahmer et al., 2019).
Citing the tenets of intersectionality, a framework developed by Kimberlé Crenshaw, a
full assessment of the issue of access to services for youth and adults with ASD from
communities of color cannot be made without taking into consideration cultural artifacts and the

11
influence these artifacts (or their absence) may have on the factors that create these barriers
(Cascio et al., 2021; Mandell & Novak, 2005; Tincani et al., 2009). For example, centering the
cultural significance of music in communities of color reveals how music performance may
improve caregiver perceptions, which may increase the funneling of services and interventions to
youth with ASD and contribute to positive outcomes.
Regarding factors that influence caregiver perceptions, EVT also helps to examine the
integral role that culture plays in these influences. Developed and explored deeply by Eccles and
Wigfield, EVT is a context-specific framework that purports that beliefs about abilities,
expectancies for success, and achievement task values inform individuals’ choices. Expectancyvalue theory purports that these constructs are shaped by factors like culture and further distilled
by the way culture is utilized in the home through ADLs (Anderman, 2020; Eccles & Wigfield,
2020). These three constructs interact to influence caregivers’ perceptions of the abilities of
youth on the autism spectrum and their service/intervention selection and implementation.
Furthermore, following a problematization using intersectionality, this study employed
the three constructs of EVT to privilege the voices and perceptions of the caregivers in
communities of color regarding their perceptions of ability within the youth with ASD they
support, assessing the value they assign to and the influence of music performance, and
ultimately how their perceptions and values influence the extent to which they make more
culturally relevant services and interventions available to the youth that they support. It is at this
point that music performance enters the framework. This framework purports music performance
to be effective in influencing caregivers’ perceptions, which ultimately affect service selection
and implementation (Colling & Thompson, 2013; Krueger, 2013; Leech-Wilkinson, 2013).
Music performance may positively alter caregivers’ perceptions, and they could then advocate

12
for a wider range of services and interventions for their youth (Colling & Thompson, 2013;
Krueger, 2013; Leech-Wilkinson, 2013). This framework displays a dyadic connection between
culture, music performance, and access to services for youth on the autism spectrum.
Positionality
Positionality, as Villaverde (2008) defined, is “how one is situated through the
intersection of power and the politics of gender, race, class, sexuality, ethnicity, culture,
language, and other social factors” (p. 10). I identify as a Black, able-bodied, immigrant woman
who is also a singer-songwriter that believes in the power of music. In addition to this, I am an
anthropologist who occupies the role of founder and executive director of a disability-focused,
music training nonprofit, Jazz Hands for Autism, that is tasked with helping individuals on the
autism spectrum build skills using music education and music performance as a tool. In several
locations of my identities, I am at risk of being an agent of discrimination and bias, while in
other locations, I am a target (de Oliveria, 2012).
One particular location where I am at risk of being an agent of discrimination is in my
role as an able-bodied woman leading a disability-focused organization and a disability-focused
study without imposing and communicating ableist ideals. In the field of special education or
disability-focused education, the holders and implementers of knowledge are typically ablebodied educators, policymakers, parents, and clinical professionals. Generally speaking,
individuals with disabilities infrequently inform the knowledge used to serve or support them.
This means that there is a possibility that “certain knowledges are superiorized above other
knowledges in a process of power” because their voices are largely absent in planning the
education and interventions they receive (Matias, 2013, p. 64). Therefore, alleviating this power

13
imbalance requires acknowledging the processes of power and centering the voices of the
students with disabilities and their caregivers to foster mutual respect (Matias, 2013).
To effectively conduct a study that centers the voices of youth and adults with ASD and
their caregivers, it was imperative that I employed several tools to mitigate my biases, both
known and unknown. Bias mitigation tools I employed for this study are triangulation via
multiple methods of data collection and hypotheses and seeking data to support alternative
hypotheses (by having Caucasian caregivers), member checking via soliciting feedback from
most participants during the data analysis portion of my study, review of my findings by my
doctoral committee members and, finally, utilizing the ethical issues checklist put forth by
Merriam and Tisdell (2016). Further, this study may have yielded another dimension where my
biases may have been highlighted; my positionality frames how I see the world and influences
the music interventions I selected for this study. To mitigate bias, I interviewed some caregivers
whose children participated in music performance programs outside that provided by my
organization.
Methods
I employed a retrospective pre-post design for this study because although this format
may not be effective at quantifying change in learning, its effectiveness in accurately identifying
and excluding perceived change in understanding has been shown (Bhanji et al., 2012). I
collected data at one point in time from the primary sample. I selected a qualitative approach to
obtain more robust information that centers the experiences and perceptions of the caregivers
who support youth and adults with ASD.

14
Research Questions
The purpose of this study was to explore the perceptions, experiences, and beliefs of
caregivers from communities of color regarding music performance on their children with ASD
and how these perceptions affect service selection. This study utilized a retrospective design to
address the following research questions:
1. What are the perceptions that caregivers from communities of color have regarding
the impact of music performance on their youth or adult son/daughter on the autism
spectrum?
2. In what ways, if any, does music performance affect the beliefs that caregivers from
communities of color have about the growth and development of their youth or adult
son/daughter on the autism spectrum?
Participants
I used two sampling techniques to recruit 10 participants. As aforementioned, I use the
flier found in Appendix B to recruit participants from the regional centers, providers of
disability-focused music programs, and through snowball sampling. I used purposive sampling,
particularly maximum variation sampling, for the sample. According to Maxwell (2020),
purposive sampling is the most typical sampling format employed in qualitative research.
Purposive sampling allows for typicality in the selected settings, activities, and participants,
which contributes to increased confidence in findings. Purposive sampling also allows for
heterogeneity within the selected population and for the deliberate selection of individuals who
are critical to the research questions. In addition, it allows for within-population comparisons and
for establishing productive relationships between the researcher and the study participants
(Maxwell, 2020). Additionally, due to difficulty in recruiting participants, I expanded the

15
selection criteria from parents of individuals on the autism spectrum aged 14 to 22 to parents of
individuals on the autism spectrum aged 14 and older. Moreover, snowball sampling was
employed for this study about a month into data collection due to difficulty with participant
recruitment.
Instrumentation
I collected data for this study via qualitative semi-structured interviews with 23 questions
informed by the AIR Self-Determination Scale developed by Wolman et al. (1994). This
qualitative study explored the perceptions of caregivers from communities of color regarding the
skills and abilities of youth with ASD before and after seeing them perform music on stage.
Appendix C provides the full interview protocol.
Data Collection
I conducted 30- to 60-minute interviews in a one-on-one format. Zoom video
conferencing software recorded all interviews. During the interviews, I took field notes digitally
via a Google spreadsheet and transcribed video recordings using the Zoom video conferencing
transcription software. Additionally, I collected demographic data for participants via a preinterview survey (found in Appendix D). All participants completed this survey before I
recognized an error in the form; not all fields were required, and there were some typos in the
form. I revised and re-sent the form to participants during the data analysis. Appendix E presents
the results from the original pre-interview survey, summarizing the results from the revised preinterview survey.
Data Analysis
I analyzed the data using thematic coding. I completed thematic coding utilizing Atlas.ti
qualitative coding software. I initially developed codes using the Atlas.ti artificial intelligence

16
(AI) function. The Atlas.ti AI provided over 900 codes, which I reviewed and consolidated into
119 codes. I did not put these 119 codes into code groups. A review of the AI-developed codes
involved four steps. First, I manually checked each code and deleted codes that did not align with
the research questions for this study. Second, once I identified a list of applicable codes, I
consolidated similar codes (code multiples) by reassigning quotes to one of the code multiples
and removing other similar codes. Then, I renamed the codes more appropriately to match the
language gathered from the literature review. Following the review and consolidation of codes, I
reviewed and coded all interview transcripts accordingly. Appendix F presents a full list of
codes.
I approached referential adequacy to enhance the credibility and trustworthiness of this
study through a three-step triangulation process involving member checking. I completed Steps 1
and 2 of the triangulation process by comparing the recorded video interviews against the audio
transcripts and reflexively reviewing my field notes. Step 3 of the triangulation process involved
member checking, which I completed by sending a PDF of the findings section of this paper and
a short Google form asking if participants agreed with the representation of data in the findings.
This Google form also provided participants with the option to leave comments and feedback on
the findings. Appendix G presents the results from this Google form.
Findings
This study examined the impact of music performance as a culturally relevant and
accessible intervention on caregiver/parent perception and, thus, access to services for youth and
adults with ASD from communities of color. Specifically, this study addressed the following
research questions:

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1. What are the perceptions that caregivers from communities of color have regarding
the impact of music performance on their youth or adult son/daughter on the autism
spectrum?
2. In what ways, if any, does music performance affect the beliefs that caregivers from
communities of color have about the growth and development of their youth or adult
son/daughter on the autism spectrum?
Before recounting my findings, it is notable to mention that during data collection and
analysis, I noticed that although music performance was a mainstay in the participants’ various
cultures, there was a trend across racial subgroups in the ways that individuals are initially
exposed to music performance. Firstly, almost all the Black parents interviewed mentioned
church when discussing their children’s initial exposure to music performance. Secondly, the
Filipino interviewee mentioned karaoke as an anchor for exposure to music performance in her
culture. The Latino families provided a mixture of church and family gatherings as ways
individuals gain exposure to music performance, and, finally, the White parent who was a
mother of a mixed-race child mentioned TV as a cultural mainstay in their house and a gateway
to exposure to music performance. Additionally, beyond exposure to music, it is also notable that
a majority of interviewees highlighted that their first time seeing their son or daughter
performing music was through teacher recommendation or a required/suggested performance at
school.
Additionally, I collected peripheral/background data to provide context to the findings.
Firstly, while nine interviewees were people of color, all were parents to children who would be
considered people of color. Secondly, these parents were also largely middle- to lower-SES, with
one outlier who would be considered high-SES. This sample constitution provided some

18
dynamic range in the data received and, ultimately, this study’s findings. Thirdly, in nine of the
participants’ households, music was highlighted as a large part of their ADLs and/or a large part
of their home cultural identity. Finally, it was interesting to note that an important entry point for
parents to witness their sons/daughters in a music performance capacity was through their
children’s school or an educational program. Specifically, most parents’ first time seeing their
children on stage was by agreeing to a required or suggested performance through school or
agreeing to their children’s teachers’ recommendations for the children to participate in a music
performance.
With this context provided, the following sections review the findings for each research
question, one at a time, starting with a table outlining the participants’ demographic data. For the
purpose of framing this study’s findings, Table 1 outlines participants’ demographic data.

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Table 1
Demographic Data of Interviewees and Their Children
Pseudonym Child’s age Child’s
gender
Parent’s
gender
Child’s race Parent’s race
Parent 1 15 Male Female Latinx Latinx
Parent 2 21 Female Female Black Black
Parent 3 29 Male Female Mixed-ace (Puerto
Rican & Caucasian)
Caucasian
Parent 4 25 Male Female Latinx (Cuban &
Honduran)
Latinx (Cuban
& Honduran)
Parent 5 17 Male Female Black Black
Parent 6 20 Female Female Black Black
Parent 7 21 Male Female Black Black
Parent 8 41 Female Female Mixed-race
(Filipino & Black)
Filipino
American
Parent 9 23 Male Male Black/African
American
Black/African
American
Parent 10 31 Male Female Mixed-race
(Chinese &
Caucasian)
Chinese
American
Note. This table outlines the demographic data of all interviewees and their children.
Research Question 1: What Are the Perceptions That Caregivers From Communities of
Color Have Regarding the Impact of Music Performance on Their Youth or Adult
son/daughter Son/Daughter on the Autism Spectrum?
This study first identifies a distinction between the effects of music performance
compared with listening to music. Parents indicated that they noticed a difference between the
ways that music performance impacts their child versus the impact of listening to music at home.

20
Seven participants indicated that they perceive music performance provides more
enjoyment and happiness and a better outlet for expression and focus for their child. Overall,
parents perceive music performance to be rewarding for their children:
Parent 10 specifically mentioned the ways that she perceives music performance to have
positively helped her son channel his focus and thus reduce the occurrence of emotional
outbursts:
He was in his element. Do you know what I mean? Because behaviorally, he was a
handful even then: lots of tantrums. I mean, he probably had tantrums going up to the
time he was about 22, I would say, or 23. I mean, I’m talking serious meltdowns,
tantrums. But if he was in performance mode at a concert, he was focused. He would sit.
He was focused.
Parent 2 and Parent 8 indicated that they perceive music performance to promote
engagement and positive feelings such as happiness in their children. A quote from Parent 2
shows how her child prefers performing music and that doing so is better for her child than
watching a musical performance:
Her performing is better than her just watching, or if she watched other people perform,
and then she had her turn, and we went around in a circle. She’d love it.
Parent 8 echoed Parent 2, highlighting music performance to be a better outlet for her
daughter because performing music made her daughter feel more engaged and happier:
Performing thing, uh music, like actually singing, you know, she’s happier … than just
listening to it. Listening, maybe help her to absorb all these words, all this, lyrics, you
know. But then performing is … doing what she listened and what she heard. You know,

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the lyrics and things like that. … And I think performing is better, you know, a better
outlet for her.
Parent 4 mentioned that music performance helped increase their child’s feeling of
belonging and inclusion within a preferred group or community:
[Music performance program] was his savior since he didn’t finish his schools. … That
got him in an environment around other people doing art, and that really’s been a blessing
for him. You know, you guys just don’t know how, you know, because that got him
where he had a community of other people with a similar background. And he, you know,
and he really’s gotten a lot out of it.
Moving beyond the emotional and behavioral impact of music, this study identified three
specific areas of social impact within which parents perceive music performance affected their
children. The first is their children’s ability to socialize or receive peer approval
(socialization/peer approval). The second is their children’s ability to be included in or belong as
part of a group (Inclusion in a group /belonging), and the third is their children’s ability to
overcome challenges or be resilient (resilience).
Socialization/Peer Approval
This study defined socialization as the interaction between communication and peer
approval. Recent studies have highlighted theory of mind and pragmatic competence as two of
three mediating factors that contribute to the social difficulties that many individuals on the
autism spectrum experience (Berenguer et al., 2017). Theory of mind implies the ability to
recognize and be aware that others have thoughts and motivations that differ from one’s own,
and pragmatic competence implies the ability to use language appropriately in a given context.
Both theory of mind and pragmatic competence are aspects of effective communication.

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Communication is necessary for peer engagement and peer approval, both of which are key
components of socialization (Berenguer et al., 2017; Griffin, 2018)
Communication
Regarding communication, eight parents indicated that they perceived music performance
to be rewarding for their children because it provided a better outlet for communication. Musical
performance resulted in positive change in their children’s communication skills.
Two parents mentioned that music performance provides a platform for their children to
communicate their feelings and choices with others. Parent 6 discussed how music performance
as a gateway that helped her child express themselves more:
When she selects a song, she really has a reason why she’s doing that, you know, and
being able to express that even if she’s not expressing it by the singing, she’s either
talking about what it means, or something like that, and that’d began to happen the more
and more she started to, to perform.
Parent 4 echoed Parent 6, highlighting how music performance helped her child expressed joy
despite the challenges her child previously had with expression and engagement;
At first glance, … wouldn’t be your first thought that they had autism and weren’t
speaking when they were 5, and that kind of thing, and or that [x] couldn’t read until she
was 12… That was really difficult for her, for them. But the arts and music that, you
know. It’s all bound together with music for us. [It] has been, you know, a way to express
joy, and just the most natural human way, you know, to sway with the music or to dance,
you know.
Parent 4 also highlighted how music performance helped her child develop
communication skills outside of the stage:

23
He didn’t speak. Actually, all three of them didn’t really speak until they were 5, and we
got him into a musical theater program. And, so, we started. That was when he was 7, I
guess, and he had kind of [a] pronounced issue with speaking. He was hard to understand,
and so the singing really helped him.
Peer Approval
Beyond communication, eight parents highlighted that they perceive music performance
provides the social benefit of peer approval to their child. Specifically, these parents indicated
that they perceive the positive feedback from the audience and approval and acknowledgement
from their peers following a performance to be socially beneficial to their child.
Parent 3 highlighted that music performance led to increased self-esteem in her son
because he felt “wanted” by his peers: “The music department supported him, and I think built
up his self-esteem more than if he wasn’t playing any music, you know. And again, he was good,
and he was wanted. So that made a difference.”
Parent 7 mentioned that after seeing her son perform on stage, his peers were more
interested in being his friend:
He was telling me that sometimes the kids didn’t understand that he had autism when he
was in Catholic school, but they would, like, want to be a friend like if he was like doing,
winning all these talent shows, or if he was doing great, as far as not impressions of
Michael Jackson, but singing songs like Michael Jackson, or singing, doing different
songs that showed his different abilities. And they will want to be his friends, or they
would want to be closer to him because he had those … he had shown those different
abilities.

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Parent 2 highlighted how applause and approval from their audience was a motivating
factor for her daughter to continue performing:
Everybody was clapping for her, and she just got a real kick out of that. … It was just
music, and she wanted to chime in. … Then, one time in Junior High, she was on stage,
and she was on her walker, and the girls were doing some kind of dance and whatever,
and she was following along, and she was just amazed that there was an audience like she
loves [an] audience and performing.
Parent 3 discussed ways that music performance contributed to her son being socially
accepted by his peers and thus allowed her son to make friends. When asked why she prevented
her son from quitting trombone, Parent 3 replied,
Because he was good at it, which built his self-esteem and his confidence. We didn’t
really care about him going into. We never thought he would go into it as a profession,
but it built his confidence, and he was good with it, which gave him an edge with his
disability on being able to, socially, be accepted. You know, at the time, his friends were
music people, music students.
Inclusion/Belonging
For this study, inclusion and belonging are defined as representation and reciprocity,
specifically that inclusion consists of (a) the opportunity for an individual to be present and
included within a group and (b) an individual participating in value exchange within a group
(both providing and receiving value from other members of the group).
Representation. All parents indicated that they perceive music performance as allowing
their children to be part of a group. Parent 2 mentioned that performing music allowed her
daughter to both be present and participate in a group activity:

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Just doing drumming and having people come in the living room and say, “Oh, that’s
[her] on the bongos.” … It’s a sensory process. And for people to have sensory
deprivation. … At least, this is how we get it in is through music. But her performing is
better than her just watching, or if she watched other people perform, and then she had
her turn, and we went around in a circle. She’d love it.
Parent 10 highlighted that after seeing her son perform on stage, she recognized the
power of music to be a gateway for her son to be included in his community and society at large:
I just knew. It was pretty obvious that music was going to be his gateway to participation
in society. …You know, besides, maybe a Pokemon game or something, which is still
isolating, you know, because all the kids were playing that, but it was music that was
going to invite him into, you know, participation with greater society. There was no
other. There was no other inroad.
Reciprocity. Nine parents indicated that they perceive music performance allows their
children to participate in value exchange within a group. Specifically, music performance gives
their children an opportunity to share something they value with their peers. Parent 9 highlighted
how music performance allows his son to share his enjoyment of music with others and give the
audience something he finds valuable:
There’s a difference in that he likes [music performance is]. His communication, you
know, since he doesn’t have the friends or he’s not in a social group. That is his social
outlet. It’s like I’m performing for you. I want to give this to you so that you enjoy, and
you can see me enjoying it. Yeah. And as opposed to him just composing.

26
Parent 10 said her son enjoys performing because it allows him to connect with other by sharing
with the audience his love for music: “And he loves an audience. He loves to play for people, …
and he loves to talk about music.”
This study also found that parents perceive music performance gives individuals on the
autism spectrum the ability to share something of value with their families. Parent 5 stated that
music performance allows her son to identify with and contribute to his family. In this case,
music performance supports reciprocity not with a peer group but with a family group:
[Music performance] helped him with the self-esteem. You know what I mean … helped
him with learning that he could, you know, do music if he wanted to. If he wanted to
pursue that, he could, and it gave him a sense of pride, and it helped him know that “You
know I have this music bug too, like everybody else in the family, this artsy bug, you
know, that everybody else has. Like, I have it, too.”
This study found that parents perceive making authentic and enduring friendships to be
important and that music performance provides a viable pathway to making friends. (10/10)
parents highlighted making friends as a social benefit received by their child after participating in
musical performance. Both Parent 3 and Parent 1 highlighted how being a part of a music
ensemble helped their sons collaborate and make friends. Parent 1 shared how music
performance was an important factor in her son’s ability to make friends:
You know, he just enjoys music in general. … Music is a great … bridge to friends, too.
You know, it’s a good thing to be able to discuss with your friends. It’s something that
can, you know, socially equal you out.
Parent 3 echoed Parent 1, mentioning that music performance is a helpful tool that helps
youth and adults with ASD develop important social skills:

27
I think it can definitely help with social skills, feeling that collaboration. So all the social
skills, making friends, communication skills, understanding empathy, reading other
people.
Specifically, two themes in the data analysis describe the relationship between music
performance and making friends for youth and adults on the autism spectrum who participate in
musical performances.
Friend-Making Theme 1: Inclusion Through Engagement With Others?
The first friend-making theme pertains to the relationship between the child’s
performance, audience engagement, peer approval, and inclusion. This theme shows how parents
perceive ways that performing on stage promotes opportunities for their children to engage with
others (first the audience, then with their peers) and how this engagement leads to inclusion for
their children. Four parents specifically made comments that aligned with this friend-making
theme. Parent 3 discussed how music performance has provided topics of conversation between
her son and others:
You know, if he talks to somebody in the audience about, you know, what he just did,
and they’re like, “Wow! I never heard anything like that before.” You know, then he has
something new and fresh to say, “Well, what was your reaction to that? What do you
think, you know? Is it something you would listen to again? How do I make you feel?”
You know, he’ll ask all those questions because that’s what he’s emoting [?] emotion out
of other people when he performs. So, even listening to other people play so that he can
sit back and say, “God! That brought out this feeling in me.” You know. So, it really does
lend towards his whole persona, I think.

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Echoing Parent 3 are Parents 5, 6, and 10. When asked what her son enjoys most about
performing, Parent 5 mentioned that being a part of a music performance show provided an
opportunity for her son to feel understood:
He told me that he loves it because it’s a part of him. He told me that when he did jazz
hands before. He tell me that, when he first did it, you know, he said he felt that it was a
part of him, but he felt a part of somebody that understood him. Like, the crowd
understood him, and so the performers, they understood him.
Parent 6 highlighted how performing on stage helped her child make friends by attracting
a group of like-minded people that were supportive and kind to her:
When she went to high school and she was part of the performing arts, she was able to be
around people. You know, artists are different, right? They can be. They are a lot more
accepting, and I think she found comfort in that right. Most of the kids that were part of
the performing arts academy were really kind to her. You know. She had experience off
and on, as many of our kids do, bullying and that kind of thing. But … that gave her a
space where she could have some [of] that social interaction. … You know, if you
perform and … you pretty decent, you know, people gravitate to you.
Parent 10 indicated that music performance allowed her son to learn how to successfully
engage in conversation, thus increasing his ability to make friends:
The other thing is more of the ability, I think, to carry on a back-and-forth conversation.
Because when you’re talking about music, he’s really interested in what you have to say.
He really wants to know what you think, so he will say something, but then he will stop
and take in your thoughts on it. So, then, I think, is also something I’ve definitely seen an
improvement with.

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Figure 1 presents a word summary of the relationship highlighted in this Theme 1.
Figure 1
Friend-Making Theme 1

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Friend-Making Theme 2:Inclusion Through Friendships
The second friend-making theme regards the relationship between the child’s
performance in a group ensemble and how that ensemble results in friend-making and, thus,
inclusion. Parents perceived that performing on stage in a musical ensemble promotes
opportunities for their children to engage with others and that this engagement led to inclusion
for their child. Three parents specifically made comments aligned with this friend-making theme.
Parent 1 highlighted how being part of a musical ensemble was not just her son’s preference but
also served as a way for him to make friendships while preparing for recitals:
I think he likes that. Build up with his group. … I think it’s that team building, you know.
They’re all in it together … that social component and being part of a group, and I think
that he never had that at his previous school, so I think he really likes being part of the
group. …You see that finale in the recital.
Parent 3 echoed Parent 1 while expressing how being part of a musical ensemble has
allowed her son to make and retain friendships:
He really related with his music program and his peers, and he really developed true
friendships, which he still has today.
Finally, Parent 10 found that being part of a musical ensemble provides an opportunity
for her son to make friends and grow emotionally and socially:
I mean the camaraderie between him and the other musicians, which, just in terms of his
… emotional and social growth, participating in these concerts.
Figure 2 presents a word summary of the relationship highlighted in Theme 2.

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Figure 2
Friend-Making Theme 2
Beyond the friend-making themes highlighted, another notable finding that emerged is
collective resilience. In this study, collective resilience is a phenomenon that occurs when
members of a group overcome challenges together as they work together toward a common goal
(in this case, the members of the music ensemble working together to present a good
performance). Although only a minority of parents (30%) explicitly made comments that aligned
with this theme, the parents who spoke about it indicated that collective resilience was a bonding
factor between their child and their child’s peers. When discussing her view of the effect that
music ensemble (specifically marching band) has on her son, Parent 1 highlighted the ways that
preparing for a music performance provided an opportunity for her son to experience
camaraderie with others:
The structure of something like marching band … [and] how much work it takes, how
much dedication. Just the amount of hours that these kids put into it. … The structure and
the hours, you know, that they put in and the amount practice that goes into [it]. … And I
think a lot of that constant practice and the structure and the camaraderie might be really
good for a kid on the spectrum.

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Resilience
Nine parents highlighted that music performance provided an opportunity to perceive
individual resilience in their children. Specifically, during the preparation and execution of a
music performance, parents perceived their children to display resilience/perseverance/ability to
overcome challenges associated with preparing for the performance. The perception was the
same regardless of whether the child was performing as part of an ensemble or
independently/solo. Quotes from Parents 1, 4, and 5 illustrate this perception. Parent 1
highlighted how music performance allowed her to see her son persevere and emerge out of his
shyness:
One of his big social problems with his disability was that he was so incredibly, painfully
shy. And just, really, it was so painful for him to be around other kids and participate.
And then here is this, you know, this young man getting up there, and not, you know, just
being, you know, doing his best and being proud of it and enjoying it.
When discussing how she perceived resilience in her child, Parent 4 highlighted how
music performance enabled her son to overcome their fear of the stage and express pride in his
own resilience:
Expanding their world and what they see themselves as being able to accomplish, right?
Because … It’s such a big thing to be able to feel like this is something that’s really
scary, and I’m afraid to do it. And I don’t know if I can do it, and then find that you know
not. Only it’s good to do it. People are clapping and telling you afterwards. What a great
job you did, and it’s like, oh, I did that!
Parent 5 shared her belief in the ways that music performance can help youth and adults
with ASD build resilience by teaching them patience, responsibility, and flexibility:

33
I think [music performance] can help with responsibility. With learning, patience,
learning to balance, like, you know, if things don’t work out their way, that they can still
have hope.
Beyond this, Parent 5 also specifically discussed the ways that music performance
provided an opportunity to perceive her son as a resilient overcomer:
Those are the things I’ve seen within him. You know, the pride, the confidence, the
strength that he, you know, that he can do it, that he can overcome, I guess over, would
be an overcomer? I would say that he would definitely [be an] overcomer because, of
course, he was nervous in the beginning, but he persevered, and that’s another one. He,
you know, went through with the performance and and and killed it. You know what I
mean. It was just the confidence.
In addition to the resilience displayed by their child, two parents indicated that the
resilience displayed in preparation for the music performance was generalized to at least one
other area of the child’s life. Parent 8 indicated how her child’s resilience regarding music
performance emerges as a lack of feeling embarrassed in other areas of her child’s life: “Aside
from music, you know, What I see on her is like, she doesn’t get embarrassed at all, you know, in
any situation when it comes to, you know, she’s just very articulate: she asks questions.”
Research Question 2: In What Ways, if Any, Does Music Performance Affect the Beliefs
That Caregivers From Communities of Color Have About the Growth and Development of
Their Youth or Adult son/daughter on the Autism Spectrum?
This study identified three factors that shifted parents’ beliefs about their children’s
abilities following the children’s first music performance. The first of these ways was an increase
in parents’ ability to relate to their children. The second is the pleasant surprise in their children’s

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skills and an increase in parents’ acknowledgement of their children’s abilities. The third is an
increase in parents’ service selection action on behalf of their children.
Parent/Child Relatability
This study found that music performance provided an avenue for a majority of parents
interviewed to relate to their child(ren) with ASD. Sixty percent of parents interviewed,
especially those who had experience in music/music performance, were able to relate to the
feelings of anxiety their child had before their performance and to their child’s desire to continue
to pursue music performance.
Feelings of Anxiety. In Parent 6’s case, she was able to relate to her daughter’s
experience of pre-performance jitters and stage fright:
She performed all the time at home. So, it was just … I understood that fear. … because I
experienced being really really nervous in my younger years. But I really really wanted to
perform. So, I just felt like it would happen in time. … I knew how much she loved it
because … she would be at home sitting at the piano, just playing all by herself and
singing and playing. And I just knew that she loved it so much, it would, It would take
over.
During member checking, Parent 6 further elucidated on this, indicating that she did not have a
deficit perspective of her daughter. However, seeing her daughter perform on stage allowed her
to focus more on her daughter’s strengths. The reason is that although she often saw her
daughter’s talents at home, her daughter displayed great fear and anxiety in performing.
However, when her daughter was no longer afraid to be on stage, the stage became a space
where she could excel and feel at home, thus feeling less angst and anxiety and expressing
herself. Seeing this allowed the parent to help focus on strengths instead of challenges.

35
Desire to Pursue Music. Beyond relating to pre-performance jitters, several parents also
expressed excitement to be able to relate to their child’s desire to pursue music performance, an
activity that they (the parent) has a background in. When asked about the way she felt after
seeing her son perform on stage, Parent 4 expressed excitement about her son joining the “family
trade” by choosing to pursue music:
Oh, my God! I was so excited, you know, especially. You know, you’re kind of like a
theater geek yourself, and it’s like, oh, yeah, you know. Welcome, son. Welcome. Yeah.
Echoing Parent 4, Parent 9 also expressed the pride he felt to know that his son is
pursuing music, a line of work that he had previously participated in:
So, when he does something, I feel really proud that, you know, he’s carrying it on, you
know. I kind of lost my zest for music, but he still has it.
Parent Acknowledgement of Child’s Abilities
This study also found that after seeing their child perform on stage for the first time, 90%
of the parents interviewed experienced a shift in both their perception of their child’s abilities
and the characteristics in their child that they focused on. Specifically, these parents noted a shift
from a focus on their child’s challenges, to a focus on their child’s musical abilities as a strength
Parent 2 highlighted that, though her daughter has experienced and continues to
experience challenges, music performance creates an opportunity for her to perceive her child’s
strengths and abilities in music:
She couldn’t even sit up until she was a year and a half. She couldn’t walk until much
after that. And, so, she said all this brain interruption. But she will sing music and
remember songs photographically.

36
Echoing Parent 2, Parent 10 also highlighted areas where her son still struggles but
indicated that musical performance is an area where she perceives his strengths:
He still can’t tie his shoes, he still can’t really eat food neatly, or fold close neatly, but
he’s great. He’s a great writer. He’s great on the piano.
When asked about ways that her beliefs and perceptions of her son changed after seeing
him perform music on stage, Parent 7 mentioned how her focus shifted from her son’s symptoms
of autism and adhd:
I don’t focus on his … autism. I don’t focus on his ADHD as much. I focus on just his
capabilities and what he’s capable of doing. … Just his capabilities. … It seems like the
autism goes out the window. … I don’t look at him as having a disability or anything of
that nature. … Sometimes, I’m a little nervous for him because I don’t know, you know. I
mean, I know sometimes he’s prepared, but I don’t know, like, how well the performance
is gonna go. So, I’m nervous for him, but at the same time, I have confidence in him.
Parent Pleasant Surprise
After seeing their children perform on stage, 100% of the parents interviewed were
pleasantly surprised. They indicated that music performance helped them see their children’s
skills in a different light, even if these skills were displayed on some level at home. These
parents indicated that music performance provided the opportunity to see their child display
courage, confidence/self-esteem, executive functioning, and compassion for others/theory of
mind.
Courage. Nine parents highlighted their children’s courage in getting up on stage and
performing. In the following quote, Parent 8 tells about her perception of her daughter’s courage
after she saw her daughter perform on stage for the first time:

37
She is brave to stand there, and with a lot of people, and because I see kids, although they
sing good, they memorize it, but when they go up there, they, you know, you can see that
they’re nervous. You know, you can … tell that, “Oh, okay, the kid is nervous.” And, so,
I don’t see it in her. She is composed.
Confidence. Eight parents indicated that their beliefs about their children’s confidence
changed after seeing their children perform music on stage. For Parent 6, music performance
allows her to see a different side of her daughter that is less shy and more confident:
Being off stage, she’s, you know, she has a lot of some of the symptoms around, some of
the things that you see in people who are on the spectrum. So, she may not, initially …
have given you eye contact, or she may have been very shy to speak around someone, or
you know, not, but, on the stage, you know, she started out that way, but on the stage,
she’s almost like a different person, a different persona, you know.
Parent 6 continued,
She just seems to be able to connect with people, and she just seems shy in a lot of ways.
She seems fearless, and witty, and confident. You know, whereas off stage, she may not
appear that way, sometimes. You know, it’s almost like she turned something on … and
wow. … It’s always, you know, as she continues to grow, it’s always, … like, “Wow,
woah”! Okay, you know, it’s like, “I didn’t know that was coming, you know.”
Parent 7 echoed a similar sentiment. When asked about ways her perception changed and
things that surprised her after seeing her son perform on stage for the first time, Parent 7
highlighted her son’s confidence and musical ability:
His confidence, his musical ability.

38
Executive Functioning
In addition to confidence, 80% of parents indicated that performing on stage provided
them an opportunity to see their children display executive skills like organization and
memorization. Parent 5 highlighted specific executive skills like responsibility, patience and
balance, that she perceived in her son as a result of his on-stage music performance:
I think it can help with responsibility. with learning, patience, learning to balance, like,
you know, if things don’t work out their way that they can still have hope.
Parent 9 highlighted preparation and consideration of others in a project as executive
skills that music performance allowed him to perceive in his son:
I know what it takes preparation-wise. You know, sound has to be right, all the technical
things you have to - If there [are] other musicians involved, you have to practice and
know what you guys are gonna do. And then you have to look at the audience.
Compassion/Theory of Mind
Though only two interviewees indicated that music performance shifted their beliefs
about their children’s ability to be compassionate and have theory of mind, it is notable to
include, as individuals on the autism spectrum are often characterized as having impairments and
deficits in theory of mind (Lecheler et al., 2020). The parents who highlighted this theme
specifically indicated that performing in a musical ensemble has provided them with the
opportunity to see their child develop and display compassion and tolerance for others’ choices
and challenges. Parent 10 explicitly expressed that music performance enabled her to see he son
display compassion for his fellow musicians:
He’s really just grown socially. He’s developed compassion for his … fellow musicians,
particularly the ones that struggle with staying on key or being a little bit clumsy with an

39
instrument. He’s kind about it. Whereas I think when [program] first started 10 years ago,
he would complain out loud. I mean, … he might, you know, throw a punch at somebody
because they weren’t doing something right . … And now, he’s just, “You know, [fellow
musician] is getting really good with holding a key. She’s gotten better, and so has
[fellow musician]. … He is able to celebrate their improvement. He’s part of a group that
he really cares about. It’s huge. It’s just huge. I’m telling you, it’s huge.
Additionally, when asked what skills she perceived in her son as a result of music
performance, Parent 4 mentioned that getting into character for an on-stage music theater
performance allowed her to see her son display inference and understanding of emotional affect
(two important components of theory of mind):
It’s helping with their speech, expand their speech. … They’re learning inference, right?
[That’s] not necessarily always the easiest skill for, you know, the autism community
because it’s kind of black and white kind of language, right, you know. They don’t get
the sarcasm and those kinds of things per se. So, that’s very helpful, right, to just, like, be
thrown in that, and be this character, and get, like, “Oh, this is actually, what I mean.”
You know, it’s like, “Oh, so that meant that. And if I make my face like this, then
everybody knows that I’m trying to be funny, right?” … Also helps them to be expressive
in their own lives.
Parent Service Selection Action
This study also found that following their child’s first music performance, 90% of parents
highlighted a noticeable shift in their perception of their child’s future. Specifically, the parents
interviewed displayed a shift toward future-oriented thinking when it comes to their children, and
the interviewees highlighted a shift in their perception of the types of services to recruit on behalf

40
of their children. For parents who highlighted a shift in the types of services to recruit for their
children, the services they recruited following their child’s first music performance tended to be
more aligned with the choice of the child rather than just the perception of what the parent thinks
the child is capable of.
Future-Oriented Thinking
After seeing their child perform on stage for the first time, 70% of parents mentioned
plans for their child’s future (both music-related future and non-music-related future). Parent 4
indicated that following her son’s first music performance, she began to conceive long-term
goals for her child because she perceived him to be more capable:
Definitely started seeing more long-term goals, right? Like thinking, well, you know, he
could do this, he could do this next thing, too, and I never really thought there were too
many limits, you know. I always thought he could with any of them that, you know,
where there is a will, there’s a way for them. And yeah, I think with each role that he
would get, it’d be like. Wow! So, you know what’s next? What’s this boy going to
surprise us with next, you know. And he did so, and then he, you know, was those things.
It’s like the first time he took the bus on his own … to community college. That was just
exciting and meaningful for me. Teary, misty eyes, you know, as seeing him on stage,
you know.
Parent 5 indicated that after seeing her son perform on stage, her perception of what he
can do in the future expanded:
I always believe to him and that he can can do things. I just didn’t know he can do more
things, you know, like, expanded more. So, when he did that performance, I was like,
Wow! So, he’s like, you know, super in here, and he can do more. He can do more of

41
this, you know. I mean, if he wants to do that, you know, if the opportunity presents
itself. If the school has the opportunity to have these kinds of events and resources, and
you know, artsy things for him to do, that he can do it. Of course, sometimes he has to
wear, you know, headphones and stuff, and those are just little minor modifications, but
it’s still possible for him.
Parent-Provided Opportunities and the Importance of Seeking Additional Music Performance
Opportunities
After seeing their child perform on stage for the first time, 100% of parents indicated that
they perceived their child to be more capable than they previously thought and thus sought more
opportunities on behalf of their child. Specifically, these parents mentioned the continuation or
addition of music-based opportunities and/or services based on their child’s interests and
choices.
Parent 1 highlighted ways that seeing her son perform on stage shifted her perception of
what he’s capable of and resulted in her no longer questioning her child’s choices of activities:
I’ve always thought, you know, if you can do anything you want. But definitely seeing it
in that new arena of competing. And you know, I mean that really that was impressive.
you know… We will never question if he wants to do more lessons if he wants to, you
know. Try new instruments. We’re always going to promote it and encourage it because
it - I think it’s been really helpful for him.
When asked to share her perception of her daughter after her daughter’s first musical
performance, Parent 2 indicated surprise at her daughter being able to participate and shared how
seeing her daughter successfully performing motivated her to seek out more opportunities for her
daughter:,

42
It was. It was that she had the potential to do this, to follow along and to participate and
reap the benefit and the joy of her being on stage and performing and doing music. You
know, like, I’m trying to find a place to do a karaoke party for her… So, now, I gotta plan
one that’s based on what she wants, which is going to be karaoke.
When Parent 7 was asked what future she perceives is possible for her son after seeing
him perform music on stage, she mentioned that she had been discussing with her son about
going back to school to study music in junior college,
Yeah, that’s funny that you would ask that because I’ve been thinking about that quite a
bit because I’m trying to figure out. …We were discussing it one day, saying that maybe
he would just maybe decide to study music and go back to school and study music, not
necessarily to teach it, but so that we were discussing that maybe going to junior college
or trying to get in university and studying music for a couple of years and see how that
would go.
Moreover, after seeing their children perform on stage, 100% of parents highlighted how
their shift in perception of their child’s capabilities resulted in them seeking out more services
that align with their child’s interest in music and choice to participate in music-related activities.
When asked if she perceived music performance as something she could see in her son’s
future, before his first performance, Parent 5 indicated that she initially didn’t think it was
possible, until she saw him perform on stage:
I didn’t I didn’t. I really didn’t know because, you know, the non-speaking piece, and we
were trying so many things and ruling out so many ways to communicate with him
because communication is the key to a lot of these things. So, I really … didn’t see the
performance, but I did know the dancing part, you know. I mean, like, loving music and

43
dancing. But no, I never, never seen that until I saw him do it, and when I saw him do it, I
was like, okay, this is it. We’re on to something. You know what I mean. It opened doors
for his communication a lot.
However, when asked if she perceived music performance as something she could see in
her son’s future, following his first on-stage music performance, Parent 5 emphatically shared
that she now did: “Absolutely. Absolutely because, after that, he got a couple of little DJ gigs
from that. Of course, he needed some assistance, but you know he had the opportunity to do it
and experience. And he did.”
Finally, when discussing activities she seeks on behalf of her son after seeing him
perform music on stage, Parent 1 highlighted a music-based activity that she found on behalf of
her son: “But music, for sure, is wonderful for everybody. He loves doing, you know, listening to
music he loves. We just took him to his first concert this last year.”
Discussion
One major organizing theme in this study’s findings is resilience. Findings indicate that
parents seeing their children engage in active participation in an intervention, specifically music
performance, that highlights varied skills and promotes prosocial behavior allows them to see
their children display resilience. This resilience emerged as an anchor for altering parents’
perceptions of their children’s capabilities. Findings from both research questions support this
statement.
Firstly, music performance creates a time warp where skills that would typically take
much time and many more settings to see are displayed in one location over a short period
(Kanduri et al., 2015; Penhune, 2011; Zatorre et al., 2007). Secondly, parents interviewed for this
study highlighted their child’s social resilience as a pivotal impact of music performance. These

44
parents indicated that they perceive a difference between the ways that listening to music and
performing music impacts their child. While most parents credited listening to music with
promoting emotional regulation in their sons/daughters, a majority of parents interviewed for this
study highlighted that music performance provided a better outlet for skill display, socialization,
engagement, and happiness for their children. This is interesting because it draws a strong
distinction between the active and passive interaction with music, which is echoed by prior
studies (Clayton et al., 2016; Gillis, 2012; Hsu et al., 2017; Lynch et al., 2021; Nakahara et al.,
2011; Zuk et al., 2015). Neurologically, playing music engages various brain regions, including
the reward and emotions systems in the brain, such that the brain is more inclined to form new
synapses and connections (Vik et al., 2018; Wu & Lu, 2018). This is linked to positive impacts
on cognitive processes, which impact executive functioning, cognitive flexibility, and empathy
(Ilari et al., 2021; Wu &Lu, 2021). Moreover, Clayton et al. (2016) purport that active
engagement with music promotes neuroplasticity, which has been linked to an increase in
prosocial behavior.
Furthermore, the findings of this study indicate that an increase in social capital (peer
approval, inclusion, and their child’s ability to make friends) is an important aspect of how
capable parents see their children and how willing they are to allow their children to participate
in events. This may be a result of parents wanting to avoid seeing their child experiencing
rejection, as studies show that parents of individuals with ASD tend to be worried about their
children making long-term friends (Solish et al., 2010). Given that bullying is more prevalent
among youth with ASD than it is for typically developing youth, resilience in social settings
(social resilience) and social capital allows parents to focus on their child’s strengths.

45
Moreover, social resilience that occurs alongside others (collective resilience), emerged
as a notable factor in shifting the perceptions some parents had of their children. Music
performance, specifically music ensembles, promotes prosocial behavior and friend-making by
providing opportunities for individuals with ASD to participate in collective resilience. A
concept that emerged from this study is collective resilience, operationalized as a phenomenon
that occurs when members of a group overcome challenges together as they work together
toward a common goal. Collective resilience occurs because within a musical ensemble, there is
increased exposure to unexpected events that can alter the performance of the group, thus,
increasing the need for both individual cognitive flexibility and coordination, collaboration and
sharing of resources between the performers in the group (Glowinski et al., 2016).
Implications and Recommendations for Future Research
This study’s findings put forth that when parents see their son/daughter perform music on
stage, they perceive their son/daughter with ASD to be socially resilient, and this perception of
social resilience alters how capable parents see their children and thus what types of services are
made available to the children over their lifespans. Because challenges with socialization are an
essential component in the diagnosis of autism and socialization is one of five social
determinants of health put forth by the U.S. Department of Health & Human Services, accessible
activities like music performance that promote prosocial behavior are beneficial to the outcomes
for individuals on the autism spectrum over their lifespan (U.S. Department of Health and
Human Services, 2023). With this in mind, I implore leaders in various fields to consider the
impact that exposure to music performance can have on communities that interact with or want
to interact with individuals with ASD.

46
Firstly, and most directly, regional centers and clinicians should provide client-facing
personnel such as service coordinators and behavior interventionists with training on finding
information on music-based interventions. This should be especially the focus for regional
centers with catchment areas that consist primarily of people of color. Secondly, school district
superintendents and principals should consider building music education with several
opportunities for on-stage performance into core course offerings at public, non-public, and
charter schools. Furthermore, personnel providing music education and music performance
opportunities at these schools and districts should receive in-depth training on ways to properly
include, engage, and teach music to students with ASD. Thirdly, the departments on disability in
municipalities like Los Angeles could be an ally to people with ASD from communities of color
by allocating funding for proposals from autism-focused community organizations or postsecondary or vocational training programs that include a music education and music performance
component. Finally, policymakers should allocate funding for campaigns from larger
organizations like the Recording Academy, which partners with autism-focused organizations to
make music performance more accessible to neurodivergent youth and adults and individuals
from communities of color.
Further research is needed to explore if music interest is necessary for results. A majority
of the interviewees described their children’s existing interest in music, as displayed by
impromptu music performances at home. Future researchers could explore music performance as
an intervention for individuals who are not interested in music. Further research might also shed
light on the effects of different types of musical performances. A potential research question
could be: Does the child’s participation in group performances impact parents’ perceptions
differently than an individual or solo performance?

47
Limitations
Though I gave much attention and consideration to this study’s design, sampling
techniques, and data collection and analysis, limitations persist. Firstly, due to purposive and
snowball sampling, selection bias may have affected the findings’ generalizability. To mitigate
selection bias, I collected demographic data on each participant and reported in Table 1.
Secondly, due to the retrospective self-report nature of data in this study, response and recall bias
may be possible. To mitigate recall and response biases, interview questions were carefully
selected, and follow-up questions provided clarity on previous responses. My peers and my
dissertation chairs also vetted These interview questions. Finally, two common limitations of
qualitative study designs are observer-expectancy bias and confirmation bias. Triangulation
involving member checking was employed to mitigate observer-expectancy and confirmation
bias.
Conclusion
According to the Centers for Disease Control and Prevention, in the United States, autism
is now more common in communities of color, specifically among Black and Hispanic children,
yet youth and adults with ASD from communities of color still have the lowest levels of selfdetermination and poorer outcomes along their lifespans (Centers for Disease Control and
Prevention, 2023). This disparity brings to mind a decade old question that I’ve held. 10 years
ago, I came across a YouTube video where an individual, who was non-speaking and diagnosed
with autism, was able to sing beautifully because he had perfect pitch. After watching that video,
I asked why. Why is this the case? Why is he able to sing even though he has challenges with
speaking? Could music be an untapped tool for creating opportunities for individuals, like him,
who are on the autism spectrum?

48
It’s no secret that when it comes to supporting individuals on the autism spectrum, the
focus tends to be on the skills that they need to build (life skills, social skills, work adjustment
skills, etc). These skills are definitely very important and it is great that we focus on these, but
this is only one part of the equation. A second (and I would say more important) part of the
equation is how those who advocate for them perceive them. A huge barrier to employment and
participation in society for individuals on the autism spectrum is the stigma held by those around
them. The stigma that asks: can they actually do this? Is it possible for them to successfully
participate in this activity or that activity? Maybe they’re not capable? Maybe the expectation
should be lowered?
This study finds that music performance is a powerful (and dare I say integral) tool for
creating opportunities for youth and adults on the autism spectrum because unlike many other
interventions, it only requires a very short window to do two things: 1) promote neuroplasticity
and allow individuals on the autism spectrum to develop and display various skills like
confidence, courage, resilience, organization, time management, social skills etc; and more
importantly 2) it provides an opportunity for others (especially those closest to them) to see that
they can display various skills. When we watch a person performing on stage (it could be a 5
minute or a 50 minute performance), our perception of them shifts whether we notice it or not.
My dissertation findings show that for parents of individuals on the autism spectrum, after
watching their child performing on stage, they started to see their child as more capable and
began advocating for more activities and opportunities for them. A short performance inspired
more curiosity, more opportunities, and a wider world that became available to the individual.
When it comes to breaking barriers for individuals on the autism spectrum, having and
displaying skills and ability are important, yes. But in a society (like ours) that is ableist, our

49
perception of those skills are more important. So, I urge advocates and Regional Centers and
other providers of resources and services (especially those that service communities of color) to
consider funding interventions like music performance that provide an opportunity to quickly
shift perception of how capable others (especially parents) think individuals with ASD are. If this
can be done, then the scope of services and activities made available to individuals with ASD
will expand because based on this study’s findings, it appears that music performance provides
an accessible and culturally relevant avenue for youth and adults with ASD from communities of
color to display social resilience both individually and as part of a group (collective resilience).
This form of resilience is an anchor for positively altering their parents’ perspectives about their
capabilities and thus making more opportunities available to these youth and adults.

50
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Appendix A: Definitions
1. Regional Center: “Agency through which the State of California provides services and
supports (assessments, determine eligibility for services, and offer case management
services… develop, purchase, and coordinate the services in each person’s Individual
Program Plan) to individuals with developmental disabilities” (Regional Centers”, 2023).
2. Self Determination: leadership,confidence and self directed and autonomous behaviors
3. Caregiver Perception: includes the caregiver’s expectancies for future outcomes and
values
4. Collective Resilience: a phenomenon that occurs when members of a group overcome
challenges together as they work together toward a common goal

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Appendix B: Recruitment Flyer

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Appendix C: Interview Protocol
This study sought to answer the following research questions:
1. What are the perceptions that caregivers from communities of color have regarding the
impact of music performance on their youth or adult son/daughter son/daughter on the
autism spectrum?
2. In what ways, if any, does music performance affect the beliefs that caregivers from
communities of color have about the growth and development of their youth or adult
son/daughter son/daughter on the autism spectrum?
Concepts From Conceptual Framework Addressed in this Survey
This survey addresses the following concepts:
● Location (As informed by Race & SES)
● Impact of culture on child’s preferred interests and learning tools
● Impact of music on activities of daily living (ADLs)
● Access to Music Education
● Parents’ perception of Child’s abilities
Introduction
Hello, it’s a pleasure to have the opportunity to sit with you and learn about your
experience with accessing services on behalf of your son/daughter on the autism spectrum.
The purpose of this study is to learn how caregivers from communities of color perceive
ability within their transition-aged son/daughter with ASD and if and to what extent this
perception can be impacted by seeing their children perform music on stage.
For this study, we are seeking to learn specifically about the experiences of caregivers
from communities of color. You have been selected to participate in this study because not only

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have you self-identified as Black or an Indigenous person of color (BIPOC), but you also have a
son/daughter who is transition-age (age 14-22) who has participated in music lessons and has
performed music on stage.
I will be taking physical notes during this interview. I will also be audio recording this
interview. The audio recording will later be transcribed, and what you share will be recorded in
written form. In addition, I will destroy the recording once the notes have been transcribed and
reviewed for accuracy.
During analysis and for the final report, your identity will be shielded. We will assign
aliases to every interview participant, and we will omit any information that can readily identify
you. We plan on including information about your race, socioeconomic status, and gender
identity.
Information Sheet
I would like to mention that you can choose to decline a question, and if a topic presents
you with discomfort, you are not required to discuss it. If, at any point, you would like to stop the
interview or remove yourself from the study, you are able to do so with no repercussions. You
are also able to dent the use of your interview in the project. You own your information and are
able to block the use of that information if you choose to do so.
We will also be providing you with a study information sheet with details about the
purpose of the study and report. Lastly, we will be requesting that you sign and return an
interview consent form.
Questions (With Transitions)
Opening: I’d like to start by asking you some background questions about you.

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1. Where do you work, and how long have you been living in Los Angeles?
(Background, location)
2. What sorts of music programs, if any, were you involved in when you were younger?
(RQ2)
Introductory: Now, I’d like to ask you some questions about your son’s/daughter’s
interests
3. How would you describe the school your son/daughter attended? (Background) -
Location
● Was it a public school? Private school? Charter school?
● Was this school in your district?
● How did you discover this school?
4. Were there any music programs offered at the school? (Background, Access) How
did you find out about these music programs?
5. In my experience, schools do not often have a music program for students with IEPs.
What type of music programs did your son’s/daughter’s school have? To what extent,
if any, was your child involved in music programs at their school? (Sensory,
location/access to music education)
6. Tell me about the day you realized that your son/daughter had an interest in music
(RQ1)
7. How would you describe your son/daughter’s abilities? (RQ2) What areas do they
show the most ability?
Transition: Now, I’ll be moving on to asking you questions surrounding the arts,
specifically music.

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8. How much of a role does music play in your son’s/daughter’s daily activities?
(Experience/Behavior) - Impact of Music on daily activities (RQ1)
9. Tell me about how your student became involved in musical activities.
● How long?
● Group/individual program?
10. What is your opinion of using music as a learning tool? (opinions/values, parents’
perception of self-determination/Impact of Music on daily activities/Impact of culture on
child’s preferred interests and learning tools, RQ1)
Key: Now, for the meat and potatoes. I will now be asking you questions about your
perception of your son/daughter’s abilities.
11. Tell me a little more about seeing your children perform music
○ How many times, if any, have you seen your son/daughter perform music on
stage? (RQ1)
● Tell me what types of feelings you felt when you saw your son/daughter
performing on stage (feelings, parents’ perception of selfdetermination/Impact of Music on daily activities/Impact of culture on child’s
preferred interests and learning tools)
● Were there any mistakes your child made during the performance?
● If so, how did you perceive those mistakes?
12. Before your son/daughter began music lessons, tell me about some of the areas where
you thought he/she was capable. (RQ2)
13. What has changed in the way you see your son/daughter since he/she began performing
music? (RQ2)

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● In what other areas, if any, have you seen your son/daughter improve since
he/she began performing music?
● What skills, if any, have you seen change since your son/daughter began
performing music?
● What new knowledge, if any, have you noticed your son/daughter gaining
since he/she began performing music?
14. Do you think your beliefs about your child’s abilities changed after watching them
perform? In what ways?
15. Some people say that music can help people with autism develop other skills. What do
you think about this? (Opinion/Values) - Impact of music on day-to-day activities of
son/daughter /Access to Music Education/Impact of culture on child’s preferred interests
and learning tools (RQ1)
● How important do you think music is to your son’s/daughter’s development?
● What barriers, if any, exist when it comes to finding music programs for your
son/daughter?
16. In what ways, if any, do you think that music impacts your son’s/daughter’s learning?
(parents’ perception of self-determination/Impact of Music on daily activities/Impact of
culture on child’s preferred interests and learning tools, RQ1)
Ending: As we wrap up, I have a few more closing questions for you
17. This is the first interview I’m conducting. What sort of advice would you give me about
ways I can improve this interview process?

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Appendix D: Pre-Interview Survey

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Appendix E: Results From the Original Pre-Interview Survey

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Appendix F: Full List of Codes
name comment
Education: School satisfaction
Potential benefits for people with autism
Socialization
Human Emotions/Experience: Uncertainty
Parent Feelings of Pride
Personal development: Confidence
Culture and Diversity: Cultural influence
Barriers
Influence of environment on personal choices
Child Desire for Autonomy
Personal and Professional Development: Bullying
Child Described as High functioning
Education: Public school
Education: Private school
Education: Charter school
Parent Pleasant surprise
Positive change in Skill development
Personal development: Belonging
Culture and Diversity: Cultural identity
Culture and Diversity: Heritage
Culture and Diversity: Traditions
Culture and Diversity: Cultural upbringing
Child Interest in Music/Art
Parent use of Alternative medicine
Neuroplasticity
Parent Future-oriented thinking
Human Emotions/Experience: Hope
Skill acquisition in Child
Financial barriers
Access to resources
Supportive Environment For Child

77
Education: Access and Accommodations
Education: Academic accommodations
teacher recommendation
Parent Support
Parent Fear
Parent/ Child Relatability
knowledge of child's talents
Performance vs Consumption
generalization of confidence
Music in Activities of Daily Living
School Action/ Accommodations
Positive Shift in Perception
power of music
Parent Desires
Child Sense of Accomplishment
Important demographics
Parent Provided Opportunity
Choice of the child
Parent Concern about disability
Parent acknowledgment of child ability
Parents expression of empathy
Parent Sense of accomplishment
Child display of ability
Challenging Experience for Child
Impact of Listening to Music
Music as a tool - emotional regulation
Parent with No Musical Experience
Child display of perseverance
School Transition
Music Performance as a tool - Inclusion
Child Attended Inclusive School
Child did not Attend Inclusive School
Music Performance as a tool - socialization
Required or Suggested Music Performance
Music as a tool for self advocacy
Religious/ Spiritual Dimension of Music
Merged from
Religious

78
Dimension of
Music and
Religion
Teacher Discovered Child talent
Teacher Recognition
music as a tool - Structure/ Executive Functioning
Music as a tool - belonging
Parent Decision Making on Behalf of Child
Parent Disappointment
Praise as a benefit
Barriers to Finding New Services
Challenges Associated with Disability
Music as a tool - resilience
Child Challenges: Socialization
Parent Feeling Gratitude
Teacher Expectation
Positive change in Child confidence
Parent Focus on Child Capabilities
Music as a tool - Spiritual development
Positive Change in Socialization
Challenges: Emotional Expression
Low SES
Child Dissociation from "Low Functioning"
School Dissatisfaction
Child Musical Talents at Home
Music as a tool - Self Esteem Building
Start of Child's Musical Journey
Music Performance as a tool - Expression
Positive Change in Child's Career
Child Success
Child Pursuing Non-Music Career
Child Having Positive Relationships
Child Goals
Music as a tool - Healing
Pressure of Music Performance
Parent with Musical Experience
Child was Mainstreamed

79
Career Possibilities for child
Music as a tool for Skill Development
Music as a tool for Abstract Thinking
Music Performance as a tool
- Sensory
development
Positive Change
- Child Communication
Parent Belief in Child's Abilities
Peer Approval
Music as a Tool
- Coping
Expansion of Child's Interests
Positive Change
- Child's Abilities
Challenge: raising child w/ disabilities
home school
Education: Non Public School
Parent First Time Seeing Child Perform
Parent Program/ Activity Recommendation
Music as a tool
- Developing Compassion
Quotes to Use
Suggestion to Make Music Mandatory

80
Appendix G: Results From This Google Form

Abstract (if available)

Abstract This qualitative study explored the perceptions, experiences, and beliefs of caregivers and parents from communities of color regarding music performance on their children with ASD and how these perceptions affect service selection. A retrospective pre-post design was employed for this study, whereby data was collected through semi-structured interviews with 23 questions informed by the AIR Self-Determination Scale. Findings for this study indicate that parents seeing their children engage in active participation in an intervention, specifically music performance, that highlights varied skills and promotes prosocial behavior allows them to see their children display resilience. This resilience emerged as an anchor for altering parents’ perceptions of their children’s capabilities and thus expanded the scope of services they selected and advocated for on behalf of their children. Findings from this study urge policy makers, funders, advocacy organizations, and service providers, including regional centers and school districts, to consider the impact of increasing access to music education with an onstage performance component, especially for youth and adults with ASD from communities of color.

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Asset Metadata

Creator Nweke, Ifunanyachukwu N. (author)

Core Title You can’t have inclusion without music: utilizing music performance to inform caregiver-selected service outcomes for youth and adults on the Autism spectrum from communities of color

School Rossier School of Education

Degree Doctor of Education

Degree Program Educational Leadership

Degree Conferral Date 2024-05

Publication Date 01/06/2024

Defense Date 11/16/2023

Publisher Los Angeles, California (original), University of Southern California (original), University of Southern California. Libraries (digital)

Tag access to services,autism,autism spectrum disorder,caregiver perception,communities of color,culturally relevant interventions,expectancy-value theory,intersectionality,Music Performance,OAI-PMH Harvest,outcomes along the lifespan,parent perception,youth and adults

Format theses (aat)

Language English

Contributor Electronically uploaded by the author (provenance)

Advisor Hirabayashi, Kimberly (committee chair), Malloy, Courtney (committee member), Tobey, Patricia (committee member)

Creator Email noddynweke@gmail.com,Nweke@usc.edu

Permanent Link (DOI) https://doi.org/10.25549/usctheses-oUC113803922

Unique identifier UC113803922

Identifier etd-NwekeIfuna-12593.pdf (filename)

Legacy Identifier etd-NwekeIfuna-12593

Document Type Dissertation

Format theses (aat)

Rights Nweke, Ifunanyachukwu N.

Internet Media Type application/pdf

Type texts

Source 20240116-usctheses-batch-1119 (batch), University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

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Repository Name University of Southern California Digital Library

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