sound52 Youth Music Action Zone (YMAZ) Case Studies

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Contents Page Number

Case Study of the Social, Personal and 3Musical Development of Four Young People2008 – 2009

Case Study of the Social, Personal and 4Musical Development of Four Young People 2009 – 2010

‘The Friday Night Project’ 7Case Studies 2010

Case Studies 2010/11 9

Case Studies – 2011 – 2012 / 11First notes in the Guildhall Case Study

Slumgothic Case Study 12

Pitch In Case Study 2011 14

First Notes 2012/2011 Case Study 15

Rhythm of the Abbey 16Youth Music Power Play in Lincoln 2010/11: Two Case Studies

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Case Study of the Social, Personal and Musical Development of Four Young People – 2008 - 2009

The “Sugarspoons” a band based at Bardney Youth Centre recently celebrated the end of their year long participation in the Development Group programme by performing at Burn52. The band headlined the event, performing five songs which included original material.

Sugarspoons’ singer has left school and successfully found employment at Lincoln College. At Burn52, as well as performing with the band, she performed a song with just guitar backing during which she showed vastly improved confidence and stage presence. She also volunteered on the night, helping as one of the compères and with the stage lighting.

 The band’s bass player is pursuing his interest in music and has arranged through his school some work experience at the Access to Music College in Lincoln.

Although playing mainly keyboard in the band, one of the members also plays guitar and she has used this skill to help and encourage another girl who now plays guitar and sings with the band. This new member has replaced the previous lead guitarist with the band who was older than most of the other members and is now involved in several musical projects with friends etc. The original drummer with the band has also been replaced by the original rhythm guitarist who is enjoying the experience of performing on a new instrument. The original drummer still performed at Burn52, performing a supporting role for another young person from Bardney Youth Centre who had just completed a HeatUp! core vocal residency.

The band intends to carry on developing as a group, writing and performing material. They have organised their first paid performance which will take place in June at a local pub in the village and another pub has agreed to let the band play after this. Please see the interim report for quotations from the young people on their, social, personal and musical development.

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Case Study of the Social, Personal and Musical Development of Four Young People – 2009 – 2010

Donington Youth Centre Development Band “Terrain” has now beenplaying together for a year and a half. Since their performance at Burn52 inMarch, they have continued to practice and perform together, appearingon BBC Look North local television news, and at their village musicfestival, Donington Party in the Park. The five members of the band arecurrently working towards their Bronze Arts Award, and despite someartistic differences are continuing to work closely with their MusicFacilitator to achieve the Award.The youth club went through a turbulent time at the end of 2009 due to therunning of the club changing hands. However, Terrain continued to be afocus point of the small club, and maintained their weekly practice therethroughout the difficult period.

Terrain was one of our first groups to get their application in to the YouthOpportunities Fund and received £5,100 with which they bought a full Rockand Pop kit for the Youth Club (drums, electric guitars, bass, keyboard,amplifiers, microphones and a decent PA system).

One session was dedicated to teaching the other members of the youth clubabout the new instruments, and the boys passed on some of the skills theyhad been taught to others. This kind of sharing is greatly encouraging, andcouldn’t have happened without sustained contact with a Music Facilitatorwho obviously set a fine example to them.

During the band’s time with soundLINCS they have amassed achievements,including an appearance last year on BBC Look North, performing at Donington’s `Party In The Park` festival, and playing a number of privateparties and other gigs.

When monitored at the end of March, Terrain were found to be on strong form. They already had a robust set of 8 original songs. Our Music Facilitator had been teaching them how to take influence and ideas from songs that they liked.

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Nirvana, The Hives and Red Hot Chilli Peppers were all audible points of reference.

Terrain are four polite, friendly and enthusiastic young men, and it was clear that their knowledge of music had progressed massively, since their commencement of the Development Band Programme. Our Music Facilitator, had obviously formed a strong relationship with the band over the time he had worked with them, and as such they treated him with respect and listened to his advice.

The programme has helped with their social development as teenagers, as it has given them a chance to exercise teamwork on a regular basis. There is a healthy dynamic within the band and all members have become increasingly adept at communicating with each other. When writing a song, for instance, everyone’s suggestion was heard and, where possible, incorporated into the song.

Two of the band’s initial ambitions proved difficult to meet under the circumstances: They had originally intended to have less contact with our Music Facilitator, planning to eventually only require one session a month.

However, as the year progressed, the band continued to have fairly regular sessions because they were making such progress that the Music Facilitator wanted to keep working with them. Additionally the band had their first gigs to prepare for – sets to write, parts to be practiced, arrangements to be made etc…

Another aspect of the programme that had to be revised was the inclusion of the Arts Award. Although the band had comprehensive evidence for their Bronze Arts Awards, it transpired over the course of the year that it was perhaps not suited to them – as such, they

struggled to compile their folders in time for moderation. In future soundLINCS will ensure that all participants understand what is required of them to successfully complete the Arts Award, and that they are 100% enthusiastic to take on the challenge!

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It was perhaps difficult for Terrain because they were so focused on the more practical side of being in a band. When all their new equipment arrived in March, they were keen to spend at least the next two weeks solidly practicing with it. The deadline we set them for the submission of their Arts Awards folders coincided with a gig they had been asked to play at, and for which they were busily preparing their longest set yet – 8 originals and 3 covers.

Impressively, the boys also played a charity gig, and were well received. Now that soundLINCS sessions with Terrain have come to an end, we are immensely proud of what they have achieved. They have developed personally as musicians and each has contributed to a socially cohesive whole. Terrain has gone from being a collective of four beginner musicians to being a skilled band capable of writing their own songs, making their own decisions and playing their own gigs together.

Our Music Facilitator gets on incredibly well with the band, and often goes out of his way to help them out. The band has also received help from a local drummer/guitarist who has enjoyed working with them, and is enthusiastic to assist recording the band in his studio. Further sustainability is evident in the equipment the band helped to secure with their YOF bid. Now Donington Youth Club owns a set of quality equipment with which more young people can learn to play and start more bands. We wish Terrain all the best for the future and are excited at the prospect of them attending our next ‘Burn52’ event. We are sure that they will blow the crowd away

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‘The Friday Night Project’ Case Studies 2010

T: One of two younger participants who started going towards the end of the project, T has developed considerably in the few weeks that he has attended. T has learned to play the bass guitar and is confidently reading tablature and learning how to play favourite songs. He has expressed interest in forming a band with his friends.

A: A is another young participant who began attending the sessions. After showing initial anxiety about playing, he now plays the drums as much as possible, practising a lot in his free time. Recently A started private drum tuition at his school. He has developed technical skills, learning different rhythms.

M: M has developed the ability to write lyrics and successfully put them to music, has grown in confidence with regard to vocal technique and performance. He has proved his organisational skills by organising the gig in the Market Place and general maintenance of the band.

Since the gig, M has demonstrated his increased confidence by becoming chairman of Market Rasen’s Town Youth Council, and has also applied to contribute to the West Lindsey Citizen’s Council, helping to make active decisions about services in the area.

M agreed to perform a solo acoustic set at a large public event. In the weeks leading up to the event, he rehearsed his set, organising a song order, including new original songs that he’d not yet performed. Unfortunately, M came down with the flu days before the gig. However, he now feels ready to play more solo gigs.

D: D often comes up with usable chord progression and song structures fundamental to the bands style, has learnt chords and scales and improved confidence with playing and working with others. Taken a lead role in the band and is able to give and take constructive criticism.

D has developed his technical skills on the guitar considerably. D also showed enthusiasm when it came to promoting the band, by posting videos of their song on Social Networking sites. He has recently been working for a Training Organisation.

C: C spent his first few weeks learning chords on the guitar and when the need for a bass player arose, he willingly took the challenge. His confidence grew with the participation in the gig.

C has continued with his music, and made the choice to purchase his own bass guitar. C has been doing a full time apprenticeship at an Engineering Training Association, but has still found time to practise his bass.

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O: O is developing into an accomplished guitarist, works hard at technique and the ability to work with others. Not intimidated by being the only female in the group. Confidence has grown so much that she can now improvise a lead guitar solo.

O has contributed in a more active role when it comes to songwriting, learning how to compromise and play with the others.

T: One of two younger participants who started going towards the end of the project, T has developed considerably in the few weeks that he has attended. T has learned to play the bass guitar and is confidently reading tablature and learning how to play favourite songs. He has expressed interest in forming a band with his friends.A: A is another young participant who began attending the sessions. After showing initial anxiety about playing, he now plays the drums as much as possible, practising a lot in his free time. Recently A started private drum tuition at his school. He has developed technical skills, learning different rhythms.

Anecdotal from Joe – since project ended these musicians have continued to meet, play music, with plans to organise their own events.

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Case Studies 2010/11

M. M attended one of our Rock and Pop residencies for over a year, during which time he started a band and began to write his own songs. They played their first gig in the summer, since which M has continued to grow in confidence. He demonstrated this by becoming chairman of his local Town Youth Council, helping to make active decisions about services in the area.

In the summer we hosted `Superband`, a bespoke project for young people who we had identified as being particularly gifted, or showing lots of potential. M was a key part of the group, who collaborated across genres to write and record a song about their experience of teenage life. M said:

“My favourite bit was getting everybody’s styles together and learning all that they could teach you. We’ve all got different experiences.

“Music to me is an expression of myself. There’s so many things you can’t express in any other way. It’s a good way to get stuff out and de-stress.

After the conclusion of our Rock and Pop workshops, M continues to organise regular band practises and practise as a solo singer/songwriter. The band was recently planning a collaboration with other local acts and the prospect of staging their own event.

S. S has worked with us on a number of projects, including the last two Youth Music Week events that we held. S worked as part of a team of young people and got involved in all aspects of organisation (planning, venue hire, equipment, promotion, sound, lighting, MCing, and performing) demonstrating her capability to work in a team and speak in public – a task she previously found daunting.

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One of the events she helped to organise allowed 6 young acts to perform on stage in front of a large audience, using a professional soundsystem and stage lighting - a first-time experience for all of them. S said “I loved doing something that was positive for the community.”

In summer S collaborated with a group of young musicians from London, learning about Soca, House and Dub rhythms and playing bass for a recording of a new composition. This demonstrated confidence and the skills to adapt quickly and express herself musically. S is now studying for a degree in Sports Development and Coaching. She cited her experiences with soundLINCS as a major influence on her choice of course and a key factor in her being accepted on to it:

“It was really nice to be part of something for so long. It’s been a great experience and it definitely helped me to get into Uni. I can use the situations where I’ve taught people guitar and do similar things for my lesson planning as a coach… I’m now volunteering elsewhere and it gives me ideas for working with younger children.”

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Case Studies – 2011 – 2012 / First notes in the Guildhall

Unlike other projects under soundLINCS’ First Notes umbrella, which are usually structured within a six-week residency format, First Notes in the Guildhall has become a permanent fixture at South Kesteven’s Guildhall Arts Centre in Grantham.

Drop-in sessions run every Monday morning during term time for children aged between 2 and 5 plus their parents and carers. The aim is to build skills and confidence through music-making on a regular basis, using a diversity of instruments and songs to explore pitch, rhythm, tempo and dynamics within a creative and sociable setting. Tracy from the Guildhall says: ‘First Notes plays a key role in engaging young children

and their parents in arts activities, giving them a positive and enriching experience at a hugely influential stage in their development. These children will almost certainly go on to be arts attenders and creators of the future which is invaluable in ensuring the sustainability of the services we provide.’

soundLINCS Music Facilitator Tim Kitson has been delivering First Notes in the Guildhall for several years, during which time he has become a familiar face to many young families. One of his ‘regulars’ is ‘Ed’, who is now 4½ and who has been attending Tim’s sessions since he was a baby of about six months.

Initially - and understandably - Ed was much in awe of the instruments and the noise of the workshop environment. However, after a few months as a somewhat passive spectator, he began to mimic the older children.

‘He was rather shy for a while, and would be reluctant to join in when sessions were busy,’ recalls Tim. ‘Yet Ed is the first to join in these days, even when the room is full!’ Having become one of the ‘big children’ himself, it is his turn to encourage the younger ones to join in and he now even takes the lead in some of his favourite activities.

‘I really was unsure whether Ed’s confidence would build to this degree,’ Tim concludes. ‘But it seems that First Notes workshops have had a profound effect on him both socially and personally, as well as fulfilling their goals on a purely musical level.’

Ed’s mum agrees noting: ‘Ed has really, really enjoyed the sessions. He has learned and lot and really surprises me with his enthusiasm in leading activities himself within a whole group. We really enjoy Monday morning music!’

(some names have been changed to preserve anonymity)

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Slumgothic Case Study

The Slumgothic Teenage Arts Project runs at the X-Church, an imposing former Anglican church in Gainsborough, Lincolnshire - an area of high social and economic deprivation.

With support from West Lindsey District Council, specialist Music Facilitators from soundLINCS have run workshops for local teenagers at Slumgothic for several years, initially under the HeatUp! programme part-funded by Youth Music and Lincolnshire County Council. Despite the often chilly interior, the sessions can be attended by 30 or more young people, covering an age range of 12 to 25. Numbers are usually boosted over holiday periods as former participants return to the area from university.

The venue is equipped with PA systems, bass guitar and amps plus a basic drum set, and participants usually supplement this with their own kit.

‘All we ask of the young people who attend is that they behave respectfully and try to create something,’ says Youth Worker Marcus Hammond. ‘We encourage the development of original material so workshops often turn into jam sessions with young people stepping in and out and swapping instruments. This way we can cope with a lot of individuals. Over time, clusters form and then bands. Bands are often given practice slots at other times in the week and the project is now a proven feeder to Gainsborough’s growing live music scene.’

J is 15: his family had just moved into the area when he first came to Slumgothic and he knew none of his peers, having not attended regular school. He tentatively played along with some of the established bands and demonstrated basic skills, although he clearly found working with others a challenge - he admitted that he wanted to ‘form a band’, and not just ‘be in a band’.

For one of the Slumgothic showcases, J elected to perform a set of acoustic-based covers with another participant. During rehearsals, he also played one of his own compositions, which prompted soundLINCS Music Facilitator Alan Trench to support him in writing his own material.

‘It became a regular feature of sessions that J would show me a new song and we would work on arrangements,’ says Alan. ‘We tried working more with J and band as the sessions progressed, and then started recording the original material away from the regular sessions. Four numbers have been recorded so far.’

During the regular sessions, J now works much better with other participants and is more confident in presenting his own ideas. Whilst he is specific about what he likes and how he wants his music to work, he also now appreciates the viewpoint and musical tastes of others, although he is still not keen on working with a

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group. He claims this is due to lack of skills, although he has also mentioned that he suffers from depression, which may be a factor in his lack of engagement.

In view of his improved self-confidence, presentation skills and peer group interaction, J has been allowed a key to the X-Church for rehearsal access, and he has pledged to keep the place in good order.

‘The Slumgothic project has probably been the most significant factor in J’s integration into a new area and a new peer group, and has enabled him to express and develop his own artistic vision,’ concludes Alan Trench. 

(some names have been changed to preserve anonymity)

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Pitch In Case Study 2011

PITCH IN is a diverse and creative music-making project which engages Looked After Children (LAC), their carers and other significant persons in their life. The ultimate aim is to establish, develop and sustain a model which Lincolnshire County Council (Children’s Services) can duplicate in other areas, such as sport or drama.

As one strand of PITCH IN, small groups of LAC and foster families are encouraged to join Family Singing Groups: one such group was established at Ayscoughfee Hall Museum near Spalding in Lincolnshire and still meets monthly to enjoy both the music-making and the social benefits.

Singing and percussion activities are led by soundLINCS music facilitator Liz Lenten, who draws on a mix of traditional and contemporary songs and original compositions devised by the group. At the end of each session, the participants contribute to a memory book in order to capture the project’s history and progress. They have also started ‘junk modelling’ to make musical instruments to use and share at home.

‘The group has been a success in all kinds of ways, including real health and social benefits for the children,’ says Liz. ‘As well as being both energising and relaxing, singing encourages concentration, improves cardio-vascular activity, helps respiration issues and releases enzymes to help develop immunity from colds. But, of course, the primary aim is to have fun through making music in a mixed age group and facilitate a safe way to express emotions, share feelings and develop communication skills.’

‘Mary’ is a foster carer who has been involved in the Ayscoughfee Hall Family Singing Group since May 2010, bringing her foster child K (5) plus her birth children J (14) and E (11).

‘K faced real problems with delayed speech and language. The regular PITCH IN sessions have helped enormously and he’s now blossoming into a secure and sociable member of the family,’ says Mary. ‘Despite my own initial lack of confidence in singing out loud, Liz put us at ease from the start and we leave each session with lots of ideas we can try at home.’ Indeed, music-making has become such a part of K’s life that a special ‘singing party’ was organised to mark his birthday and the whole family took part in a public performance.

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First Notes 2012/2011 Case Study

Having recently opened in the Lincolnshire town of Spalding, Trinny’s Ark Nursery offers round-the-clock childcare, seven days a week, for babies and children aged from six weeks to 10 years.

soundLINCS were invited into the setting to deliver First Notes: this is a residency-based programme comprising six practical music-making workshops run at weekly intervals which introduce pre-school children to musical foundations like pitch, rhythm, tempo and dynamics within a creative and enjoyable framework.

At the time, the candidate group at Trinny’s Ark generally numbered seven or eight children, although attendance and attendees varied each week according to parental work patterns. Included in the cohort was ‘Tony’, 2, whose parents had moved to the area from Poland.

‘At the first session, I noted that Tony’s attention span was limited,’ says soundLINCS Music Facilitator Yeelin Parford. ‘He had no interest in listening to stories read aloud and seemed unable to concentrate on any activities. He also showed little initial interest in music-making. He picked up instruments but struggled to understand why he ought to share them and why they had to be returned at the end of the session.’

Yeelin considered language limitations to be a significant barrier to Tony’s effective engagement. English was not his first language and his verbal skills were very narrow. However, she built a rapport with Tony through the weekly First Notes sessions. Regular activities included music & movement, singing, exploring instruments, working in pairs and beating a pulse and Tony gradually began to develop listening and waiting skills and to understand the need to take turns.

At the end of the six week residency, he had a much longer attention span and had become better at responding to instructions or requests. This showed in his willingness to sit and listen to two or three story books in a row.

Tony also developed an interest in music, becoming good at beating a pulse, more comfortable about sharing and returning instruments and happy to join in songs (in English) that he hadn’t known at all at the start of the residency. He engaged with the routine of the sessions and took delight in knowing what would happen next, often pre-empting by helping to put instruments away before being asked. This resulted in his heightened self-esteem and an obvious sense of personal achievement.

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Rhythm of the Abbey - Youth Music Power Play in Lincoln 2010/11

Case Study 1J – Rapper/Musician BDM Crew

This case study is a synthesis of information gathered from the young person, his mother, Abbey Youthie Staff, the Music Leader.

1. Basic Profilea. Maleb. 15 now. 14 for most of his engagement with project.c. White British

2. The starting pointJ was ‘wary’ of participating in the music sessions and dipped in and out in the early days of the project. He says it took a while ‘to get used to’ the Music Leader. Exploring this statement with J, it became apparent that he was connecting at least 4 different ideas:

It was very unusual to have a DJ and Music Producer at the Youth Club The Music Leader didn’t look, act or talk (to him) like other adult leaders or

teachers in his life J lives in a single parent household with his mother and sisters. There

doesn’t seem to be many adult male role models in his life J is diagnosed as ADHD/Autistic and has a very short attention span

So what seemed like a simple phrase ‘to get used to’ reveals quite a lot about J and how it was easily transferred and identified with the Music Leader. This very succinct examination provides a brief insight into the complexity of the Music Leader’s role when encountering new groups.

J had not engaged with music making in any sincere way prior to Rhythm of the Abbey. He did not identify himself as a musician or, indeed, have any aspiration to be a musician. He described school music making as ‘messing about on tiny keyboards and playing Twinkle Twinkle.’

J lives in a single parent household. The household is receiving a range of Family Support Services from the local authority. J is diagnosed as ADHD/Autistic.

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3. Participation J has participated in CPM workshops (playing drums); DJing workshops (beat matching, scratching, mixing); and Music Production. Music Production has been the activity that J has really applied himself to. Within Music Production J has:

Used GarageBand and Cubase Selected sounds, beats & loops Programmed beats, melodies & bass lines Arranged and re-arranged original music tracks Developed original raps/lyrics and recorded them Performed in public

Most of J’s engagement has been within the context of a trio called BDM Crew and therefore his participation has been mostly collaborative. There have been times when J attended workshops without his collaborators. J has been involved in performing BDM Crew material with 2 performers rather than the usual 3.

The key barriers for J’s engagement are his limits of concentration and, particularly in the early stages of the project, his challenging behaviour. His challenging behaviour could kindly be characterized as ‘boisterous and attention seeking’ (as described by the Music Leader). J was frequently associated with disruptive and confrontational behaviour within Abbey Youthie, and sometimes as the ring leader. Other key barriers were his general lack of confidence and zero aspiration for his creativity, expression and musicianship.

The key facilitators for J’s engagement were connected to the Music Leaders skills in maintaining high momentum for workshops and keeping activities short, regular and task orientated. J has described this as “we could do as much or as little as wanted. The ML was interested in what we were interested in and always encouraged us alot. It isn’t a bit like music at school”.

The Music Leader writes: J and S were both very closed individuals when I first began working with them. I had to build their trust in me as a facilitator and above all a peer before they relaxed and let their guard down, so that we could then work together to create music that was really personal to them.

J in particular has been diagnosed as having ADHD, so his concentration levels are somewhat short and this manifests through boisterous behaviour and attention seeking. It was therefore extremely important to keep up the momentum of the workshop giving him regular short tasks to undertake which would help keep him focused.

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4. OutcomesThe Youth Development Worker at Abbey Youthie told me that the journey for J has been ‘life changing’. This view was independently expressed by J’s mother and Abbey Youthie Manager. More importantly, J spoke about himself in a similar way. In responding to the question ‘What difference has this project made on you?’ J replied that he felt ‘proud’ of his achievements and he tried to remember that feeling whenever he was tempted back into trouble. He used the word ‘matured’ and gave examples of how he tried to help out his mum a bit more at home and also by being a better example to younger children at Abbey Youthie. He describes himself as more confident in and out of school. These changes are potentially long term for J. It has been valuable for J to realize that he can gain respect from his peers through his abilities to create music rather than creating trouble. J has developed a longer attention span and can concentrate on tasks for more time than previously.

The Music Leader writes: J and S have achieved so much during their time working on the project. Their performance skills and confidence have developed, which just goes to show that if targeted in the right areas what is seen as being over the top and boisterous can be actually be extremely positive. J’s concentration levels have improved vastly, and both young people have found a way of openly expressing their emotions without resorting to violence and bad behaviour. They have also shown a massive amount of commitment, something they both struggle with during their school lives. 

J is described (by Abbey Youthie Staff) as being more ‘aspirational, and really starting to believe in himself’. This resonates very closely with Rhythm of the Abbey aim: “To offer a high quality opportunities for young people living in Abbey Ward to develop their confidence, self esteem, aspirations and life choices through participation in music activity. The project aims to make a real difference to the lives of the young people that participate”

There is a little anecdote about BDM Crew that helps to illustrate the softer outcomes of Rhythm of the Abbey. A small incident that could easily be missed. They were involved in performing at Abbey Allstars performance on 29 th March 2011. S (Case Study 2) MCd the event with another young person. S was involved in making a gift presentation to the Youth Club Manager and the Music Leader. Towards the end of the evening, when most young people and their parents/carers were preparing to leave, J & K (3rd member of BDM) collected 2 brooms from the cleaning cupboard and started to sweep the hall floor in a quiet and unassuming way – moving and stacking chairs as they went. Nobody had asked them to do it and they were not expected to do it.

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In a subsequent discussion with Abbey Youthie Manager and Staff, it was said that such thoughtfulness and responsibility would have been unthinkable prior to Rhythm of the Abbey. In fact – even asking for it to be done would have been unlikely to achieve very much. It’s a tiny example that bears out the truth of J & S description of themselves as matured. The consciousness of self directed action – to do the right thing – is a long term outcome that the project can rightly feel proud of.

Case Study 2S – Rapper/Musician BDM Crew

This case study is a synthesis of information gathered from the young person, Abbey Youthie Staff, the Music Leader.1. Basic Profilea. Maleb. 14 now. 13 for most of his engagement with project.c. White British

2. The starting pointS is the youngest member of BDM Crew but is acknowledged as their leader. He is a little more confident in himself although he had no previous experience of writing or performing music. S presented himself in the early sessions as uncommitted to music making and, like his friends, was cautious in his approach to the Music Leader. The sense was definitely one of ‘checking out’ the situation before investing in it. The Music Leader describes S as ‘closed’. S is a very quick witted young person. Some might describe him as ‘cheeky’ or disrespectful. He is identified by Abbey Youthie Staff as an influential young person within the Youth Club, and frequently associated with disruptive behaviour. He had a similar reputation at school.

As stated above, S had no previous experience (or aspiration) for music making. Like J (Case Study 1) he was disengaged with school music making as it wasn’t presented in a way that stimulated or interested him.

S fits with the profile of the project as he lives in Abbey Ward. Abbey Ward is in the most deprived 10% when ranked nationally against 2007 Deprivation Indices and Child Deprivation statistics. Over 19% of children and young people are entitled to free school meals.

3. ParticipationS has participated in CPM workshops (playing guitar); DJing workshops (beat matching, scratching, mixing); and Music Production. Music Production has been the activity that S has really applied himself to. Within Music Production S has:

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Used GarageBand and Cubase Selected sounds, beats & loops Programmed beats, melodies & bass lines Arranged and re-arranged original music tracks Developed original raps/lyrics and recorded them Performed in public MC’d Abbey Youthie event

Most of S’s engagement has been within the context of a trio called BDM Crew and therefore his participation has been mostly collaborative. There have been times when S attended workshops without his collaborators.

As described earlier S is an influential young person within the Youth Club. Over the course of the Abbey Youthie sessions he has developed a strong reputation for his abilities as a writer, rapper and performer. Within this context, he has collaborated with other young people (not BDM Crew) to write and record new work and perform it. What this actually means in practice is that S has been invited to be guest vocalist for other youth club performers, or S has invited other singers to be a guest vocalist on some of his tracks. S has also written and performed pieces as a solo performer. He has also collaborated with a dancer to perform pieces together.

S is very much the unelected leader of BDM Crew. The Music Leader reports that S will encourage his collaborators to keep trying to finish lyrics/songs when there are concentration or creative blocks. He has developed a strong work ethic and demonstrates why he has accepted/assumed the leadership role within BDM Crew. The key barriers for S to engage with the music sessions resonate with J (Case Study 1). Mostly a sense of wariness, lack of trust, and little aspiration for musicianship. S doesn’t experience ADHD/Autism although he also presented a short attention span in the early stages of the project. This is connected to S being a very bright young person who gets bored quickly. Had S arisen from a different social and/or family background, it is likely he would be identified as Gifted and Talented. The Music Leader became aware of his potential and provided sessions that responded to his abilities and a developing interest to acquire deeper knowledge and understanding on Music Production processes.

4. OutcomesThe most immediate outcome for S is his discovery that he has abilities to make music, write lyrics, rap and perform. Through the project he has developed a large range of technical and creative skills whilst also unlocking his natural talents. S has a talent for performance – a charisma – which is also part of his identity of being quick witted and an influential young person. His engagement with Rhythm of the Abbey has provided S with new opportunities and choices for his creative energy and leadership.

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S (like J) describes himself as proud of his achievements and matured through the process of music making. This has directly translated into a much more responsible approach to behaviour within the Youth Club and school. He says ‘I haven’t been in trouble for ages’. This seems to have the potential of a long term outcome for S as he applies his intelligence with more focus within education. Curiously – he has no intention to engage with music making in school. Like J, he is keen to maintain a separation between his ‘in school’ and ‘out of school’ lives.

An unexpected outcome for S – and for the project at Abbey Youthie – is the dynamism of collaborations between young people in their music making. It is clear to see (and particularly with S) that there has been a cultural shift at Abbey Youthie in which music making is both accepted and expected. It has become a shared and sharing experience within the Youth Club. Music making has presented young people with new opportunities and choices for working together, learning about each other, and explore new relationships with each other. Music Production is so well suited to this dynamism, and probably more so than a traditional band arrangement. Music Production provides quick results for those short of time or attention, whilst also offering complexity and depth for the more interested. Young people ‘guesting’ on each others tracks doesn’t require a commitment to ‘join the band’ or attend ongoing rehearsals and this sense of doing ‘as much or as little as I want’ has been valued and evaluated positively by young people at Abbey Youthie.

Here is an unexpected ‘discovery’ about S. He was asked whether he had developed more interest to study music at school. ‘No’. He was asked whether his school teachers were aware of his interests, abilities and experiences. ‘Not really… only one of them’. He (along with another BDM member) described themselves as having two lives. One was for in school, and the other for out of school. The out of school life was ‘real’ and Rhythm of the Abbey has been a big part of their real life. Music making was connected to identity (‘who we really are’) and S wanted to retain it as separate to school. The implication was that it wasn’t possible to be who ‘you really are’ within school. This is a line of enquiry that would benefit from more research within the context of music activity with children and young people from Challenging Circumstances. There seems to be a general assumption that informal music making (out of school) will/should lead to more formal studies (in school) through signposting or referral. Certainly for S this is not the case. The context of informal workshops within a familiar space in the ‘real world’ is judged as a motivation. Placing the same activity into a formal setting is judged as a barrier.

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