In order to contribute to the Inclusive Education of children with Special Needs in the Specialized Artistic Teaching of Music in Portugal, an Action-Research project started in 2018. Our objective is to show the results of the diagnosis made on the characterization of the child with Cerebral Palsy that originated the study. For this, nine interviews were carried out, considering the person in charge of the child’s education and the different education and health professionals who work with that child. All the compiled information was organized and studied through content analysis supported by software on the webQDA platform, using the Sources, Coding and Questioning tools, which proved to be effective for the characterization of the child. The results obtained allow us to observe that the interviewees consider the child's personal characteristics relevant from a temporal perspective. That is, they refer to aspects that pertain to the child’s past, present and future perspectives. In all of these aspects, the importance given to the use of Support Products, curriculum adaptations and the support network (people) is evident for the child under study to be successful, namely in the learning of Music. The need to enhance the different factors in the contexts (environment) is highlighted, promoting accessibility.

In Portugal, in 2018, an action-research project began to find solutions so that children with cerebral palsy (CP) could learn music in Arts Education Programmes of Music (AEPM). When conducting the characterisation of the child with CP, which gave rise to the study, and a series of literature reviews to find out what has been done in this area, we came across several works related to different Accessible Digital Musical Instruments (ADMIs) which can be employed by users with different needs. In the present case of the child under study, two of these ADMIs were chosen and used because of the opportunities they offer: Netytar and Netychords. These instruments allowed the child to access an artistic school near their residence after the respective admission test. In the Intervention Project (IP), which lasted six months, we analysed how the entry process was carried out, so we qualitatively studied the music teachers' field diary records. This situation included several interviews and conversations with the educational community involved. More specifically, the following were analysed: (i) the process of the child's entry into the artistic school; (ii) the work done by the piano teacher in the first three months of the study; (iii) the curricular adaptations proposed by the music teachers (MTs) of the ensemble and music training class so that the child could fulfil the proposed objectives; and (iv) the arrangements and musical compositions adapted so that the child could fulfil the demands of the school programme. As a result, we noticed that the peers of the child with CP adapted much better to the participation processes in favour of inclusion than the adults involved, probably because among the adults there was fear in the face of a still unknown situation, as is the case of working with a child who accesses information and music teaching unusually. We also noticed the urgent need for specific training and supervision among all involved - MTs, operational assistants (OAs), and parents/guardians (PGs). We were faced with the need for training in minor details such as accompanying the child with CP to move and use the toilet. In other words, it is necessary to prevent and prepare, empowering those involved with a series of skills so that children with special needs can fully and actively participate in this type of education.