New teacher. I can set out two fixed three-event strips with separate pitch and level rows, read each timed script and use the exact first-response notes. The distinction between design choice, maker intention and actual listener words is explicit. I must use neutral fictional prompts, preserve private participation and follow school safeguarding policy if a child raises a real help concern. I cannot play candidate WAVs until I have listened to all files on the actual classroom device and approved volume/comfort. The score-only route stands without sound.
Learner. I can use large text, raised low/high line and one/two-dot level cards, AAC, pointing or an adult scribe. I need not say how I personally feel, disclose a family event, hear a cue, sing or show my work publicly. The PDF is not itself tactile; an adult builds the broad fixed cards from exact directions. In Design 2 I choose the two changed marks; a neutral adult cannot make that decision for me.
Funder/assessor. The pack adds 10 optional sessions, 30 routes, 20 worked swaps, 20 optional bridges, eight original searchable A4 aids and three reproducible candidate PCM cues. It is not a classroom pilot, impact study, universal-access certification, complete Music standard, official translation or claim about children's feelings. ACARA wording is pinned; the QCAA page links its Prep alignment but PDF retrieval returned HTTP 403 at review. Actual real-work inquiry and willing-audience evidence remain conditional.
Critical review and fix. “Music sounds worried” can become an unsupported universal label. Every prompt instead asks which marks changed, what the maker said they intended, and what a willing listener actually said if there was one. The integrated Week 24 help work uses local safeguarding routes; no Music score is used to identify a child in distress. If later piloted, collect teacher timing friction, child route choice, actual listening comfort, listener responses and cultural-source permission before making public outcome claims.