Presentation

Project Introduction

In collaboration with Special Autism Services Leeds (SAS) [Figure 1], this project aims to deliver a five-week programme of workshops for a group of 5–12 adults diagnosed with Autism Spectrum Disorder. SAS is a non-profit organisation dedicated to supporting members in developing social, communication, and employment skills, enabling engagement with new opportunities, informed decision-making, and the achievement of personal goals, thereby maximising independence and inclusion.

While the project will incorporate elements such as recording and instrumentation, its primary focus is songwriting. The process of connecting personal feelings and experiences to lyrics and music offers opportunities for freer self-expression and improved emotional regulation. Additionally, music training can lead to structural and functional changes in the brain, with research demonstrating positive effects on social bonding, cognitive abilities, and language processing (Hoffer, 2022). These outcomes necessitate a relaxed and open pedagogical approach that prioritises participant control and autonomy, allowing individuals to more effectively benefit from the impacts of songwriting.

Figure 1 – Specialist Autism Services’ Mission Statement

Demographic

Educational and social institutions frequently provide limited access to cultural and leisure activities for individuals with additional needs [Figure 2], often due to inaccessible provision and institutional shortcomings such as insufficient understanding and inadequate training to support inclusion. In the UK, a higher proportion of disabled adults report having little choice over their free time compared with non-disabled adults (22% and 13% respectively) (Papworth Trust, 2018). Furthermore, only 34.8% of disabled adults known to local Scottish authorities were reported to have participated in regular recreation or leisure activities, with 9,206 individuals (39.7%) lacking opportunities for recreation (SCLD, 2017). Institutions that do offer such activities often charge additional fees, as the financial demands associated with staff training limit the availability of free provision. It is reasonable to assume that similar trends exist in Leeds, potentially intensified by high levels of financial deprivation [Figure 3].

Figure 2 – Equality and Human Rights Commission (EHRC) 2017a

Figure 3 – Leeds IMD Map (CRDC, 2019)

Project Aims & Objectives

With these factors in mind, as a group we compiled a list of objectives to use as a measure of the project’s success. When outlying these objectives we wanted to be able to witness participant enjoyment and to have a scale to try and measure whether they have taken skills away with them that carry on into benefit their personal development, in line with SAS’s mission statement. These consist of:

• See an improvement in participant’s well-being and communication skills.
• Witness a development in musical abilities.
• Have a tangible piece of work that can be performed to the group, if desired.

To measure our success in meeting our aims, we will hold reflective meetings with both the mentors and participants to ensure that the content of the sessions is supporting them in their development.

Planning & Preparation

When planning these sessions [Figure 4], it is essential to ensure they are sensory-friendly, accessible, and flexible. Consideration must be given to noise levels, visual supports, predictable routines, and participant choice. Emotional wellbeing should also be prioritised, as fluctuations in mood may influence engagement; consequently, teaching methodologies must be patient, empathetic, and responsive. Given the diversity of abilities within the group, activities should be adaptable, offering varying levels of support and alternative modes of participation. Recognising diverse musical preferences is equally important, as incorporating a range of genres and individual choices enhances inclusivity and engagement. As creative expression may involve personal or sensitive information, sessions must foster a safe and respectful environment that supports autonomy while ensuring appropriate safeguarding procedures are followed.

Based on feedback from both SAS and tutors, an approach was established involving reflective meetings after each session to discuss positive and negative aspects and to integrate participant feedback into subsequent sessions. This strategy supports repetition and structure, which are beneficial for autistic individuals. To introduce this approach, a workshop blurb will be created to provide clarity for prospective participants. At the end of each session, participants will be shown the plan for the following week, allowing them to familiarise themselves with upcoming content and voice their perspectives prior to the session. To ensure effective organisation of tasks such as equipment hire and session delivery, a Microsoft Teams chat has been set up to maintain clear communication. Meetings with SAS have also been held to gain guidance on supporting members and to clarify procedures such as fire evacuation and first aid.

Figure 4 – Project Scheme of Work

Week 1

The primary aim of the first session is to establish positive interpersonal relationships and introduce participants to the project. Each session will begin and end with designated walk-in and walk-out music to provide consistency and structure. The initial session will include brief icebreaker activities to encourage familiarity, followed by a “Guess the Song” quiz to promote engagement. Participants will then choose an instrument from a percussion set and play along to a preferred piece of music, facilitating exploration of rhythm and tempo. A short educational video explaining the concept of the “Four Chords,” as demonstrated by Ed Sheeran [Figure 5], will be shown, after which participants will collaboratively experiment with basic chord progressions. The session will conclude with a matching game designed to promote relaxation. Feedback will be collected at the end of the session to inform the development of future workshops and ensure alignment with the project’s aims.

These activities support the welfare of adults with autism by aligning with established theoretical perspectives on music as a therapeutic and inclusive practice. The structured use of walk-in and walk-out music reflects principles of predictability and routine central to TEACCH-based approaches (Haug, 2016), which have been shown to reduce anxiety and support emotional regulation. Music-based icebreakers and group activities provide alternative, non-verbal forms of communication, supporting social interaction through shared musical experiences without reliance on complex verbal exchanges. Active music-making, such as percussion playing, highlights rhythm as a tool for sensory regulation, motor coordination, and self-expression. Providing choice in instruments and music promotes autonomy and self-determination, both of which are linked to improved wellbeing (Rogers, 1959).

Cognitive engagement through learning and experimenting with chord progressions supports strengths-based approaches, as musical ability represents a potential area of strength for autistic individuals. Concluding with a calming activity aids emotional regulation and supports transitions, while collecting participant feedback reflects inclusive practice theory by ensuring sessions remain responsive to individual needs and preferences. Collectively, these elements contribute to enhanced emotional, social, and psychological wellbeing, supporting the project’s aims as these effects are developed across subsequent weeks.

Figure 5 – Ed Sheeran’s “Four Chord” Theory

Week 2

Week 2 centres on the exploration of instruments and tempo. The session consists of a “Guess the Artist” quiz and a collaborative, rhythmic activity based on We Will Rock You, allowing participants to practise a familiar clapping pattern. The chord progression developed in the previous session will be prepared within a Logic project, with participants engaging directly with the software by selecting instruments, recording via MIDI, and experimenting with tempo and chord variations. The session also explores drum kits and rhythmic patterns and concludes with a brief matching activity, encouraging instrument recognition.

Week 3

Following the walk-in music, the session will begin with a “Guess the Band” quiz designed to engage participants, activate prior musical knowledge, and encourage reflection on personal musical preferences. This will be followed by a call-and-response activity to promote social interaction, build confidence, and support collaborative rhythm exploration. Participants will then view a short video featuring Freddie Mercury, providing an example of vocal expression and performance to inspire creativity and demonstrate dynamic musical techniques. Individuals will subsequently experiment with an Omnichord emulation before progressing to a range of MIDI instruments for further hands-on exploration. The session will, again, end with a relaxed matching activity, ending on an enjoyable and inclusive note.

Week 4

The session will begin in the same manner as the previous two weeks, again maintaining consistency and structure. Participants will then select a film of personal interest and identify descriptive words associated with it. As a group, these words will be transformed into simple rhymes, providing the foundation for group lyric-writing activities. The session will also incorporate instruction on basic rhyming patterns and straightforward song structures to support participants in shaping their ideas into coherent lyrical forms. We will then finish with a lyric-matching game will be conducted, encouraging recognition of rhyme pairs and line connections while ending the session in an enjoyable and relaxed manner, reinforcing learning outcomes and creative engagement.

Week 5

The main focus of this session is to gently encourage any participants, comfortable with the prospect of performing, to demonstrate their works to the rest of the group. In the case of one not wanting engage with this, we will offer the option of us performing their song for them so that they can still see their work come to fruition. As previously mentioned, this acts as a measure of success in regards to achieving our outlined objectives as the participants can walk away with with a physical reminder of their progression across the five weeks. The performance acts as a visual support, which can help reduce anxiety, increase predictability, support communication, and improve participation when utilised in educational settings (Rutherford, 2020). To continue the routine established in previous weeks, the session will still end in games and activities, this time designed to highlight their achievements across the programme.

Conclusion

The success of this project would be measured through both reflective and participant-led measures that align with the project’s objectives and SAS’s mission statement. Improvements in wellbeing and communication are assessed through ongoing feedback, observation of engagement, and reflective meetings with mentors and participants, ensuring that sessions remain responsive and supportive. Musical development is evidenced through progressive engagement with instruments, software, and songwriting tasks, demonstrating skill acquisition across the five weeks. The creation of a tangible musical outcome, whether performed by participants or facilitated by the session-leaders, provides a concrete indicator of progression and achievement. Importantly, the emphasis on visual supports, predictability, and participant choice allows individuals to recognise their own development, reinforcing confidence and autonomy. Collectively, these measures confirm that the project successfully supports personal, social, and creative development within an inclusive and accessible framework.

Bibliography

• Equality and Human Rights Comission (2017). Being disabled in Britain: a journey less equal.
• Haug, P. (2016) Understanding inclusive education: ideals and reality. Scandinavian Journal of Disability Research.

• Hoffer, M., Avirett, J., Bocharski, K. and Da Costa, J. (2022) How Music Affects Your Mind, Mood and Body. Tallahasse Memorial Healthcare.
• Papworth Trust (2018). Facts and Figures 2018, Disability in the United Kingdom. Papworth Trust.
• Rogers, C.R. (1959). A theory of therapy, personality, and interpersonal relationships as developed in the client-centered framework. In S. Koch (Ed.), Psychology: A Study of a Science. McGraw-Hill.
• RTL Tonight (2017). Ed Sheeran improviseert erop los – RTL LATE NIGHT. Available Online: https://www.youtube.com/watch?v=wQKZfvet2mc
• Rutherford, M., Baxter, J., Grayson, Z., Johnston, L. & O’Hare, A. (2020) Visual supports at home and in the community for individuals with autism spectrum disorders: a scoping review. Autism: International Journal of Research and Practice.
• SCLD (2017). Learning Disability Statistics Scotland, 2017. A National Statistics Publication for Scotland.