This placement took place at the Early Years Assessment Centre at Pinders Primary School, working with children aged 2–5 with complex learning, communication and sensory needs. As a group, we delivered a five-week multi-sensory music workshop focused on routine, familiarity and musical engagement. Over time, the session developed into a regular structure of a hello song, Shaking My Egg, story time, nursery rhymes or familiar songs, and Tik Tok, our goodbye song.

Our main aim was not to create a perfect performance, but to create a space where the children could engage with music in whatever way worked for them. Because of the needs of the group, engagement was not always obvious or loud. It could be shown through looking towards a sound, moving slightly, reaching for an object, vocalising, calming down, copying us, or simply staying present. These responses mattered because each child communicated and regulated in their own way.

As a group, we shared the planning, delivery and reviewing equally. I also helped by using the Makaton I knew, which made parts of the session more accessible. I went into the placement feeling excited and fairly confident because I had previous experience as an LSA and PSA, working with disabled children and people with learning difficulties. However, I was also aware that I had not delivered a musical workshop to this specific group before, so there would still be things to learn in the moment.

This reflection looks at how the workshops developed across the five weeks, using video evidence to show moments of response, interaction and engagement. The footage shows how effective a multi-sensory project could be, as the children connected through sound, movement, visuals, objects and routine. A key part of the project was learning what helped each child engage or regulate, and then working with that instead of forcing the session to follow the plan exactly.

Aims and Planning

When planning the project, our main aims were routine and familiarity, musical awareness, enjoyment, fun, emotional regulation, sensory exploration and small moments of interaction. Because the children had complex learning, communication and sensory needs, we knew the aims had to be realistic. The goal was not for every child to take part in the same way, but to create a workshop where they could engage through whatever worked for them. This links to LO3 because we had to prepare musical material that suited the group and supported inclusion, communication, understanding and empathy.

Routine was important because it helped the children become familiar with us and with the structure of the workshop. We wanted them to feel comfortable with our presence so they had a better chance of settling and engaging more confidently. Having a repeated structure also meant they were not being asked to process something completely new every week.

The project was planned as a multi-sensory workshop because the children needed different ways into the activities. We used percussion, scarves, animal sounds, balloons, teddies, themed outfits, familiar songs and story-based activities. We originally planned to use iPads with the Bloom app, but these became less useful over time and were no longer used by the middle of the placement. We felt the children responded more to real instruments, props, visuals and live interaction, so we adapted the plan around what gave a more authentic reaction.

Familiar songs and nursery rhymes were important because if the children had heard them before, they were more likely to recognise them and respond. This was clear when we added a nursery rhyme before the goodbye song and the children responded well, so we kept it in the routine. Responses were different for each child, but included looking, touching, copying actions, vocalising, smiling, moving or staying present.

Our planning changed after the first session. We realised the original listening time did not feel as valuable as expected, and because it used a different song each week, it did not support routine as well as repeated material. We also changed the main section from listening/experimental time into story-based activities after We’re Going on a Bear Hunt worked successfully. After this, we chose a different children’s story each week, linked to what the children were learning where possible. For example, when they were learning about temperature, we planned a seasons-themed session with sensory elements connected to that topic.

As a group, we planned together each week. We already had the themes prepared, then met to decide what songs, instruments, visuals and sensory materials would fit that week’s story. We could not fully predict the children’s responses, but we created activities that were easy to adapt in the moment. This balance between routine and flexibility became central to the project’s success.

Video Reflection: Evidence of Engagement and Adaptation

The video footage across the five weeks shows the variation of engagement we received. Some responses were subtle, such as children looking towards sounds, touching props, making noises, staying present, or copying our actions. Other moments showed more obvious participation, including children talking, taking part musically, responding to questions, and even improvising within the workshop. In MAH00074, 10:31–10:50, one child answers our question and physically asks to be wrapped in the blue shiny scarf. This shows engagement as choice-making, as they were not just responding to the activity but helping shape it. In MAH00069, 20:15–20:31, one child shakes a shaker along to the music, while another taps their hands, which was significant because they are visually impaired and usually respond more to bright visuals close up. MAH00078, 33:32–33:49 also shows musical engagement through response and participation. Later, at 35:00–35:54, there is a stronger group response, with children playing along, dancing and moving to our song while adapting to changes in speed and volume. This was one of the clearest examples of progress, as it happened in a later week and suggested that familiarity with the song and routine made engagement more accessible.

Routine became one of the strongest parts of the project because it gave the children repeated musical cues to recognise and respond to. In MAH00078, 32:24–33:21, the hello song shows this as one child dances and plays percussion, while a newer child quickly picks up the repetitive tune and engages happily. In MAH00079, 3:53–4:05, a child shows a strong positive sensory response to the drums in the hello song. This seemed to link back to MAH00068, 13:13–13:38, where they had previously enjoyed the drum section in the Bear Hunt story, suggesting repeated sounds became familiar and motivating.

The routine also developed through Shaking My Egg. In MAH00076, 5:34–5:53, one child copies our hand actions and moves more confidently than in earlier sessions. Another child engages by kicking their feet to the song while holding the green scarf close to their eyes, reflecting scarf play we had used before. This is also shown in MAH00072, 9:48–9:58, where scarves created positive engagement, especially for children with visual impairments. Earlier in the same video, MAH00072, 6:24–6:37, a usually quiet and still child dances to the song, showing how repeated material helped build comfort. By MAH00076, 23:44–24:01, the children also respond to clapping as a clear signal that the activity is ending. Overall, the routine became stronger because the children became more familiar with the songs and we became more confident delivering them.

The multi-sensory approach was effective because it gave the children different ways to access music beyond singing or playing instruments. In the sea-themed session, we created an underwater-style sensory space using lights and balloons. In MAH00079, 19:07–19:26, the children respond verbally and physically by touching the balloons and looking at the lights with clear fascination. A similar response is shown in MAH00077, 28:41–28:49, where a child is drawn to the light and explores it through touch and close visual attention. In MAH00069, 11:46–12:09, a visually impaired child uses the prop across their eyes to create their own sensory experience, which was a meaningful example of independent exploration. The props also encouraged playful responses, such as in MAH00074, 13:46–14:09, where a child freestyles with the prop and we respond to their excitement rather than redirecting them. In MAH00074, 17:20–17:36, the texture of the mini teddies creates engagement during the seasons week. The animal sound activity in MAH00076, 15:59–16:26 was also successful, as children copied our animal sounds and actions, showing they were listening, processing and responding. Overall, the sensory materials made the workshop more inclusive because each child could connect through sound, touch, visuals, movement or imitation.

The footage also shows that communication did not have to be verbal to be meaningful. In MAH00077, 4:04–4:16, a child reacts to the shaker by reaching out, grabbing it and actively joining in with Shaking My Egg. Their vocal excitement alongside the physical response shows both sensory and musical engagement. In MAH00076, 11:18–11:24, a child reaches their hands out to mimic the snake gesture, showing they were watching, processing and responding through movement. In MAH00077, 7:03–7:14, a child follows the sound of my shakers as I move them around with the music, using sound-tracking to increase interaction. A strong example is MAH00068, 17:24–17:39, where a child slowly follows a group member’s hand up and down in time with the goodbye song, showing movement, visual tracking and timing. In MAH00066, 26:36–26:43, I tapped my fingernails on the drum to mimic water and rain when talking about puddles, and the children became engaged by the sound and copied it. In MAH00078, 29:09–29:17, I used vocal imitation to encourage confidence and conversation. Together, these clips show communication through reaching, copying, tracking, timing, vocalising and responding to sound, rather than speech alone.

Adaptation was essential because the children’s responses could change quickly. In MAH00066, 22:37–22:42, one child begins to show slight distress and a group member signals for us to quieten the session. This small moment shows the importance of staying aware of regulation rather than continuing with the plan at the same volume or energy. A clearer example is MAH00075, 7:34–7:47, where the children are audibly distressed at the beginning of the session. In response, we kept the workshop quieter, slowed the songs, reduced the energy and used the prop light as a softer sensory focus. By MAH00075, 25:38–25:48, this had created a calmer response, with small signs of listening, watching and settled engagement. This showed that successful facilitation was about noticing what each child needed and changing the musical environment to support them.

My Role, Teamwork and Leadership

As a group, we shared planning and delivery equally. Rather than having one fixed leader, we worked together to choose the good morning song, warm-up, themed story, rhymes, nursery songs and repeated goodbye song, Tik Tok. In meetings, we researched ideas, practised delivery and decided what props, instruments and equipment were needed. This links directly to LO2, as my role required shared responsibility, communication, accountability and reflection on how teamwork affected the project. My role often involved looking after percussion and adding Makaton pointers where suitable. I also contributed through my previous experience in similar settings, as I had some understanding of how to read children’s responses and notice what they were becoming interested in. This helped me respond to small signs of engagement, such as a child focusing on a sound, colour, object or movement. Other group members brought different strengths, including organisation, printing, preparation, arranging instrument rentals and noticing when a child needed support with regulation. These strengths made the group work well because we were not all trying to offer the same thing.

During sessions, we communicated through eye contact, verbal check-ins, subtle taps and signals for volume or repetition. We would adjust our volume to ease the class, notice the positive reaction and repeat the nursery rhyme if successful. This shows shared and responsive leadership. We were not just following the plan, but watching the children and each other to decide what the session needed. After each session, we uploaded the footage, watched it back and highlighted key moments. This helped us reflect on which children responded to certain sounds, volumes, colours, props or activities, making our planning stronger each week. One area for improvement was that we sometimes spoke over each other during story time or transitions. In this setting, too much talking could lose attention or become overstimulating. In future, a semi-set script or clearer transition cues would help us stay organised while still leaving space for improvisation.

Critical Incidents Not Captured on Video

One significant thing that was not fully captured on camera was the feedback we received around the props and how positive they actually were for the workshop. As the placement went on, it became clear that the props were not just a small extra thing, but one of the main reasons the children were able to engage. They gave the children something physical, visual and sensory to connect with, especially when sound or singing alone was not enough. This made us realise that the multi-sensory part of the project needed to be a main focus, not just something added around the music. The introduction of sensory lighting also changed the whole visual aspect of the workshop. Once we started using lights more intentionally, I would argue that the sessions became a lot more successful and stimulating. It gave the children another way into the activity, especially for those who responded more to colour, movement and visual materials. For some children, music on its own did not always hold their attention, but when it was combined with props, lights, colour and movement, their engagement became much clearer. This changed how I understood planning for this group. At first, I saw the songs and musical activities as the main focus, with props supporting them. However, the project showed me that in a multi-sensory workshop, the props, lights and atmosphere are part of the musical experience. Looking back, we could have introduced the sensory lighting earlier, as it made such a clear difference. In future, I would plan sensory materials as a core part of the session from the start, while still adapting to each child’s responses.

Evaluation of Process and Achievement

Overall, I think the project achieved its aims, but not through a final musical outcome or perfect performance. The success was in the small responses we saw across the sessions. More children joined in over time, reactions to props and lights became stronger, children copied actions and sounds, and some showed regulation, calmness and enjoyment. This links to LO4 because achievement was shown through the process: how the children responded, how the sessions changed, and how we adapted to what worked. Not everything worked as expected. The iPads and Bloom app did not become as useful as we thought, but we succeeded without them by focusing more on real instruments, props, lights and live interaction. The original listening time also did not hold attention as much as we hoped, and too much talking could interrupt the flow or become overstimulating. What worked best was routine, familiarity and sensory material. The biggest development was changing the main activity into story-based sessions. Stories gave us a successful routine that could still change each week through different themes, soundscapes, props and linked songs. This made the sessions structured but not repetitive. If I did the project again, I would introduce the strongest sensory elements earlier and make transitions clearer, while still leaving space to improvise around each child’s needs.

Conclusion

This placement developed my understanding of community music as flexible, inclusive and responsive. The workshops were successful because they used routine, familiarity and multi-sensory materials to help the children access music in different ways. It also showed me that communication does not always happen through speech, and achievement is not always obvious. Sometimes it was shown through looking, touching, copying, moving, calming or staying present. Overall, the project taught me that strong facilitation is about noticing what each child responds to and adapting in the moment.

VIDEOS

PLANNING NOTES

Theme	Aim	Session structure	Resources / props	Notes / reflection
Bear Hunt / Story Exploration	Introduce a story-based musical activity and see how children responded to sound effects, rhythm and props.	Hello song → Shaking My Egg → We’re Going on a Bear Hunt story → familiar nursery rhyme/song → Tik Tok goodbye song	Egg shakers, percussion, drums, story sounds, movement, props	Children responded well to the drum section. This helped us realise story time worked better than separate listening time, so we used stories as the main activity going forward.
Jungle / Animals	Encourage engagement through animal sounds, actions, imitation and playful musical responses.	Hello song → Shaking My Egg → jungle/animal story → animal sounds/actions → themed nursery rhyme e.g. Five Little Monkeys Jumping on the Bed → Tik Tok goodbye song	Percussion, egg shakers, animal sounds, visual props, themed outfits/objects, movement actions	Worked well because children could respond by copying sounds/actions, moving, looking or listening without needing to speak.
Seasons / Temperature	Link to the children’s classroom learning around temperature and explore sensory textures and weather sounds.	Hello song → Shaking My Egg → seasons-themed story → weather/temperature sounds → themed nursery rhyme/song → Tik Tok goodbye song	Mini teddies, scarves, percussion, drum tapping for rain/water sounds, textured props	The teddies and scarves gave children something tactile and visual to connect with. This supported engagement through touch, looking and holding props.
Sea / Underwater	Create a more immersive sensory environment using light, colour, movement and sound.	Hello song → Shaking My Egg → sea/underwater story or activity → light/balloon exploration → familiar song/nursery rhyme → Tik Tok goodbye song	Sensory lights, balloons, blue/sea-themed props, scarves, percussion, underwater-style sounds	Lights and balloons created strong visual/tactile engagement. This showed us sensory lighting was very effective and could have been introduced earlier.
Colours	Encourage visual engagement through colour, movement and sensory objects.	Hello song → Shaking My Egg → colour-themed story/activity → scarf/prop exploration → colour-based movement/song → Tik Tok goodbye song	Coloured scarves, bright props, sensory objects, percussion, movement, possible colour-linked songs	Useful for children who responded strongly to bright visuals. Allowed engagement through looking, touching, reaching and movement rather than only sound.

MAKATON SHEETS

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