Critical Evaluation

This Community Music Project placement takes place at the Early Years Assessment Centre at Pinders Primary School, working with children aged two to five. All children attending the Centre present with either a diagnosed medical condition or early challenges in social communication and interaction, including children with profound and multiple learning disabilities (PMLD), a term used to describe a heterogeneous population with profound intellectual disability often accompanied by physical impairments, sensory limitations, and complex medical needs (Rushton et al., 2023). The placement will be delivered over a five-week period, consisting of two one-hour sessions per week with small groups of approximately six children per session. These sessions are designed to support engagement at any level, including basic sensory awareness and listening, recognising that even minimal interaction with sound can be meaningful within this context. The sessions are not expected to produce overt or measurable responses however, any level of engagement or reception is considered meaningful within this context.  

This critical evaluation supports the development of my skill set within this project by allowing me to reflect on effective ways of encouraging interaction through carefully structured musical activities, even when responses are limited. It also informs my wider approach to working within SEN settings, particularly with young children, by strengthening my understanding of how musical engagement can be adapted to meet individual needs. Through focused research into PMLD for this placement, I continue to develop a more responsive approach to planning and facilitation that will inform my future practice. 

The project is guided by a clear framework of intent that underpins planning and decision-making throughout the placement. This framework ensures that sessions are designed as a multi-sensory musical experience, with structure, sound, movement, and sensory input carefully considered and adapted in response to the children’s needs. By establishing intent at the planning stage, musical choices remain purposeful rather than outcome-driven, allowing sessions to balance consistency with flexibility. This approach supports reflective practice by clarifying the rationale behind planning decisions before they are applied within the placement setting. 

We carried out two initial visits to the Early Years Assessment Centre to build an understanding of the children’s needs, abilities, and the expectations of the placement. Direct observation of the children was limited, as we were only briefly shown around the centre. While brief, this still offered a useful additional layer of understanding, particularly in relation to the physical environment, sensory set-up, and the ways in which children are supported within the space. Our understanding of the children’s needs relies mainly on staff discussion and existing information rather than direct observation. From this, it is known that all children attending the placement have learning disabilities, with all but one experiencing visual or hearing impairments, and only one child being moderately verbal. This reflects the high level of need within the group and highlights the importance of planning sessions that do not rely on spoken instruction or visual cues. Taking this into account was essential when considering how music could be used in an accessible and responsive way for all children. 

Through research, it is evident that music activity for individuals with profound and multiple learning disabilities can be broadly divided into three areas, one of which is “social music”, where music is used to support “interaction and shared behaviour” between individuals with PMLD, their peers, and supporting adults (Rushton et al., 2023). Research suggests that music can support a range of developmental areas for children with PMLD beyond musical skill alone. Engagement with music has been linked to the development of gross and fine motor skills, including “hand–eye coordination, eye contact and coordinated movement” (Wood, 1983). Music can also support wellbeing and relaxation by offering a sensory experience that is both structured and adaptable. In addition, “shared musical experiences” support emotional expression and communication, helping to reduce “barriers to interaction” for children with PMLD (Kittay, 2008; Rushton & Kossyvaki, 2021).  

With the key academic research explored, our attention shifted to the activities planned for the sessions. Drawing on both the literature and discussions with our mentor, it became clear that activities which rely heavily on active participation or set outcomes are not appropriate in this group. For this reason, the activities were not designed around fixed outcomes, recognising that levels of engagement will vary between children and across sessions. Some of the activities we think could be suitable within our sessions include a consistent musical routine, as “predictability and routine can facilitate participants with profound and multiple learning disabilities to feel more secure and provide opportunities for individuals to anticipate events or actions” (Doukas et al., 2017). Maintaining a familiar structure across sessions can support regulation, reduce anxiety, and help prevent overstimulation caused by unfamiliar activities. 

Listening-based activities are also considered effective, as “listening to music is reported to reduce stress and positively influence emotions” (Västfjäll et al., 2012). Importantly, listening does not require participation or produce measurable outcomes, making it accessible to all children regardless of ability. We can also try to incorporate soundscapes and sensory-based activities to support emotional awareness and sensory regulation. Ongoing sound environments, including specific frequencies, can be beneficial for stimulation, for example, vibroacoustic sound approaches use low-frequency sound waves that can be felt as vibrations and have been shown to support wellbeing and communication in individuals with complex needs. Given the range of sensory differences within the group, activities are designed to be multi-sensory, with particular emphasis on touch, as this is a shared sense across all children. 

Despite movement-based activities being challenging within this placement due to the physical and sensory needs of the children, they will still be included in a limited and flexible way. This will focus on brief interaction with instruments such as percussion or electronic sounds through iPad-based software. Engagement will be recognised through small responses, including hand or foot movement, body swaying, or changes in attention while music is playing. Curiosity towards instruments, such as touching or exploring them through feel, will also be considered a meaningful form of engagement, while still supporting physical development, multi-sensory experience, and emotional expression. 

The aims of the placement focus on supporting engagement and interaction through music rather than achieving specific musical results. These include developing musical awareness, encouraging gross and fine motor responses, and supporting sensory engagement through vibration and touch. The project aims to provide children with access to an alternative form of communication, using music as a non-verbal outlet for expression, while creating opportunities for social interaction with new people within a shared musical setting. 

Due to the nature of the participant group, the project is not expected to produce clear or tangible outcomes, with greater emphasis placed on emotional and experiential impact. Success will be recognised through small but meaningful indicators, such as sustained attention, active listening, visual tracking, curiosity towards sound or instruments, and subtle physical responses including small movements or changes in engagement. Recognising these responses as valid outcomes ensures that the aims remain realistic, inclusive, and appropriate for children with PMLD. 

The project is planned over five weeks, with each session following the same core musical routine while introducing a different weekly theme. Sessions will begin with a self-written welcome song, followed by a name song to support familiarity and recognition within the group. A listening time segment will be included each week, providing space for the children to listen to music linked to the theme without any expectation to respond. This will then lead into a main activity lasting approximately twenty minutes, forming the central musical experience of the session. Each session will conclude with a calm goodbye song, acting as a clear and consistent musical signal that the session has ended. 

Week one is planned as a simple introductory session, with the focus placed on settling the children into the musical environment. This week allows time to explore how the children respond to different sounds, activities, and musical resources, without placing pressure on engagement or outcomes. Week two introduces a season’s theme, following guidance from the placement mentor, as the children are currently learning about concepts such as hot and cold. Musical and listening activities linked to seasonal sounds will be used to support sensory engagement while reinforcing familiar learning, with all musical material played in the key of C to maintain simplicity and avoid overcomplication. Week three focuses on colour, combining music with visual and tactile resources such as coloured scarves. Activities will involve gentle sound exploration and movement, for example responding to the sustained sound of a shruti box while scarves are moved through the air, supporting both visual and touch-based sensory engagement. Week four uses a jungle theme, incorporating animal sounds and rhythmic activities, including simple percussion such as African drums to mirror jungle animal sounds and encourage engagement through listening, vibration, and movement rather than verbal instruction. The final week is planned as a celebratory session using familiar Disney music, maintaining the same musical structure while creating a relaxed and positive atmosphere, acting as a musical celebration of engagement across the placement. 

Improvisation will be essential within sessions with Maldochi (2005) emphasising its role in accessing “nonverbal and symbolic communication channels” when working with children with PMLD in an unpredictable environment. Research highlights the importance of responsive, child-led musical approaches, where facilitators adapt activities in real time based on participants’ behaviours and engagement rather than following fixed plans (Rushton & Kossyvaki, 2020). Following guidance from the placement mentor, we are prepared to pause or drop a session entirely if needed, recognising that children’s responses may indicate overstimulation or discomfort. By remaining attentive to triggers and calming responses, sessions can be adapted intuitively, for example by reducing sound, returning to familiar listening activities, or using slow, sustained sounds to support regulation. This responsive approach ensures sessions remain supportive, flexible, and led by the children’s needs rather than predetermined outcomes. Overall, this planning supports the delivery of a successful, multi-sensory project.

Bibliography

Appendix 1-Weekly Session Plan

Appendix 2-Group Presentation

Group Presentation Video