- Page 1: De Viggiani, N., Daykin, N., Moriar
- Page 6 and 7: CONTENTS PAGE ACKNOWLEDGMENTS ABSTR
- Page 8 and 9: APPENDICES PAGE A Research Quality
- Page 10 and 11: ABSTRACT There is growing evidence
- Page 12 and 13: 1.0 INTRODUCTION Growing evidence s
- Page 14 and 15: 2.0 INSTITUTIONAL & POLICY CONTEXT
- Page 18 and 19: to be more evenly distributed acros
- Page 20 and 21: it is clear that those who enter th
- Page 22 and 23: 3.0 THE VALUE OF MUSIC PROGRAMMES T
- Page 24 and 25: to reflect upon the impact of their
- Page 26 and 27: Carrying out research or evaluation
- Page 28 and 29: 3.4 MUSIC PROGRAMMES FOR ADULTS IN
- Page 30 and 31: suggests that music projects must b
- Page 32 and 33: voluntary and community sector orga
- Page 34 and 35: 5.0 RESEARCH DESIGN AND METHODOLOGY
- Page 36 and 37: The research took place across a va
- Page 38 and 39: 5.3 ETHICS, QUALITY AND GOVERNANCE
- Page 40 and 41: ecruitment, participants were alloc
- Page 42 and 43: was much lower. Nonetheless, we ant
- Page 44 and 45: 5.6 DATA COLLECTION Participants we
- Page 46 and 47: Professor Secker, we decided to rem
- Page 48 and 49: The following is an excerpt from on
- Page 50 and 51: 5.6.4 SEMI-STRUCTURED INTERVIEWS On
- Page 52 and 53: Table 8. Contact attempts with new
- Page 54 and 55: 5.6.5 INTERVIEWS WITH MUSICIANS Sem
- Page 56 and 57: Of the original 118 participants re
- Page 58 and 59: 49 | P a g e
- Page 60 and 61: Of the 118 initially recruited acro
- Page 62 and 63: answered by all respondents. Howeve
- Page 64 and 65: they even invited individual staff
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Due to the highly transient nature
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In terms of layout, the WEMWBS and
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Table 12. Responses to the Music Pr
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‘play’ on i-tunes but that he w
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participants, and they therefore to
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Some groups had clearly gelled befo
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Identifying Stake The musicians enc
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One participant said he never did a
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Negative expression was exhibited b
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The lyrics almost sound mature and
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Coping with Pressure Most participa
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6.3.3 FACTORS UNDERLINING SUCCESSFU
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shyly has a go at it. The musician
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overtime by twenty minutes, but eve
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The musician encouraged her to take
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came over to me and asked me where
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Communication Neither the project n
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young people. While some staff enco
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Pride and Audience The workspace in
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Participants complained about the s
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inhibited opportunity to build grou
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their home lives and within their c
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Within custodial settings, informal
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Purposeful Activity and Use of Time
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An Opportunity not to feel Stigmati
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Improved Self Confidence Participan
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R: Thanks for my certificate ... I
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I’ve had my mates and that tell m
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I: Do you think you’d like to pla
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Developing an Identity as a Musicia
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Some perceptions of a career in mus
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He wanted to get onto a music cours
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6.3.5 INTERVIEWS WITH MUSICIANS & S
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eceived training for working with p
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Most of the programmes had schedule
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Improving Programme Design The less
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However, on some occasions, musicia
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and difficult to manage. Group Dyna
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MAKING PROGRESS Support The musicia
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Sense of Achievement and Ownership
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you know? You could have an amazing
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who was a skilled MC and could impr
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I: So, do you think it’s helped y
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not like the idea of having so many
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depended upon good relationships wi
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agency - and thus to be able to par
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SECONDARY RESEARCH OUTCOMES As disc
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9.0 REFERENCES Anderson K, Overy K
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Ellis J, Gregory T (2011) Demonstra
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Ministry of Justice (2013b) Transfo
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Wickham T (2008) Urban Beatz 2007 a
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159 | P a g e APPENDICES
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APPENDIX B Ethical Approval Confirm
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RESEARCH PROPOSAL APPENDIX B MUSICA
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support these kinds of intervention
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for improved mental health, and are
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As stated previously, the quantitat
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STEERING GROUP MEMBERSHIP & TERMS O
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MUSICAL PATHWAYS RECRUITMENT POSTER
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RECRUITMENT SESSION BRIEFING APPEND
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177 | P a g e STAFF / MUSICIAN CONS
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CONFIDENTIALITY AGREEMENT FORM APPE
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181 | P a g e
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183 | P a g e
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185 | P a g e APPENDIX M
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FOLLOW-UP LETTER TO PARTICIPANTS AP
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INTERVIEW SCHEDULE - SITE STAFF APP
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Superact Somerset College Wellingto