The case study presented here refers to a student with autism spectrum disorder (ASD), who started his music education in kindergarten. His music way until today, 7 years later, continues and is an interesting and useful case for the scientific community. The significance of the aforementioned case is based on the fact that the planning, the application and the assessment in the passing of time were implemented periodically by the same educator/researcher and this was necessary prerequisite for the progress of the student's music education. The personalised educational programme (Asteri, 2017) proved dominant means to assess the potential of the student and the educator, during all stages of his long-lasting education, had to take into consideration the positive zones of student towards education as well as the malfunctions he developed during the educational implementation. Special attention was paid to the conditions formulated by the environment in the time and place the educational procedure took place, giving emphasis on the first period of pandemic crisis. The way of collecting data was completed with the use of more than one method to ensure the cross-checking of data (personal student folder, participatory observation, video recordings, written assignments of the student, interviews with the significant members of his family and education specialists). The educational procedure had the form of sequent circles, each circle included planning, plan implementation, the observation of the planning and replanning, unfolding the well-known spiral of self-reflection (Kemmis Mc Taggart & Nixon, 2014). The data collected are presented along with respected theories, which were the compass for the target and strategic choices in the teaching of music to the specific student. These theories refer to Special Education, Music Education, Music psychology, and Didactic of musical instruments. The musical education of the student took place individually through experiential learning, was combined with movement and speech (Orff, 1976), made good use of the three pillars of performance, creation and listening (APS, 2004), through exploration and guided improvisation, symbolic and classical music notation. Finally, the specific presentation of the music education of the student with autistic spectrum disorder is completed with the results of his training. Among other things,  reference will be made to the student's performance in reading and performing the typical exercises and pieces of the first student repertoire when learning the technique of classical guitar.

• Μουσικές εμπειρίες στο σχολείο, στο ωδείο και στην κοινότητα
• Μουσικές εμπειρίες, δια βίου μουσική μάθηση και ευζωία
• Μουσική εκπαίδευση στην ειδική αγωγή
• Η μουσική διδασκαλία-μάθηση σε τυπικά, μη τυπικά και άτυπα περιβάλλοντα

Music Educator, PhD nominee of Special Pedagogic and Psychology. She has been working since 1984 as a music teacher in Primary Education with hearing impaired children, children with learning disabilities and pervasive developmental disorders and visually impaired children. She has a master’s degree in special education. She holds a classical guitar degree and attended a Two-year Professional Orff- Schulwerk Course in Moraitis School. She has a degree from the Faculty of Philosophy, Pedagogy and Psychology of the University of Athens. She was President of the Hellenic Orff-Schulwerk Association (1998-2002) and she has participated in conferences of the Greek Society for Music Education (GSME) and of the Greek Association of Primary Music Education Teachers (GAPMET) as a speaker. She teaches on the Three-Year Postgraduate Orff-Schulwerk Course in Moraitis School and on the Life-Long Learning Programs of the University of the Aegean the module of Special Music Education