De Viggiani, N., Daykin, N., Moriarty, Y. and Pilkington, P. and ...

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5.3 ETHICS, QUALITY AND GOVERNANCE 5.3.1 RESEARCH QUALITY AND ETHICS APPROVAL To proceed with the research, the project team was required to take the proposal through a number of stages of approval. Research Quality Approval was sought from the Ministry of Justice, who provided feedback on the quality of the research methodology (Appendix A). As previously stated, the MoJ RQA panel advised us to modify the quantitative research design, which we did with its oversight and approval. We sought ethical approval from the National Offender Management Service (NOMs) via the Integrated Research Application System (IRAS), who granted permission to conduct the research across all settings within the jurisdiction of the YJB (Appendix B). At the time (2010), NOMs held responsibility for research ethics approval across the prison and YOI estate. However, since we were also planning to carry out the research with Local Authority managed Secure Children’s Homes, we approached two SW based SCHs for their advice on the appropriate procedure. We were advised that our NOMs and MoJ approvals would be adequate. Nonetheless, we also applied for ethical approval from the Research Ethics Committee of the University of the West of England’s Faculty of Health and Life Sciences (Appendix C) as a safeguard, given that the research team comprised UWE employees. A further requirement was for all members of the project team who expected to access to the research sites, including the musicians, to undergo enhanced level Criminal Records Bureau (CRB) checks. Each of the prison/YOI sites required us to re-apply for CRB approval on a site-by-site basis, and undergo Home Office vetting. Before the recruitment process was initiated at each site, we sought the permission of respective site managers, directors or governors to conduct the research within their establishment. It was at this stage that MoJ, NOMs and UWE permissions were presented to site managers, along with the research proposal (Appendix D). For each custody site, the project team sought permission to use digital recording equipment and was required to publish a list of equipment that would be brought onto the site, including musical instruments, music technology equipment, digital audio recording equipment and refreshments for participants. Each item of equipment was listed and approved, and then had to be checked in and out at each visit. 5.3.2 STAKEHOLDER STEERING GROUP Once ethical and research quality approval for the project had been established, a project steering group was convened to provide expert advice and oversight for the project team. The membership and terms of reference of the steering group are provided in Appendix E. The project team met with the steering group at six monthly intervals throughout the duration of the project. Meetings were used to provide briefings and updates on progress of the project, and to consult on methodology, access to sites and progress. These meetings provided a valuable opportunity to elicit external expert opinion and scrutiny, and to address key emerging challenges. In particular, steering 29 | P a g e
group members had strong associations with prisons and youth justice settings in the region, so were able to advise on which sites or gatekeepers to approach. 5.3.3 INFORMED CONSENT All young people eligible to participate in the Musical Pathways project were provided with flyers that advertised the project (Appendix F). Posters advertising the project were also displayed within education and residential areas (Appendix G). Individuals who expressed an interest to take part were invited to attend a one-hour meeting with the research team and the Superact lead to learn more about the project. These were organised four weeks before each music programme commenced and provided the opportunity to explain the project in greater detail, distribute information sheets (Appendix H) and respond to questions. Samples of music produced from other programmes run by Superact were played via a portable music system. The purpose of these informal pre-programme sessions was to inform potential participants as fully as possible what would be required of them. They involved warm-up ice-breaker exercises, refreshments, discussion about individuals’ musical interests and preferences, and of their expectations and apprehensions about the music programme; a typical schedule is provided in Appendix I. Individuals were given the option to consent to the research at this meeting or to take time to consider volunteering, and therefore to provide consent at the start of the programme. It was essential that the consent process provided individuals with clear information to enable them to comprehend what they would be participating in, to be sure they understood what their consent implied, to feel able to make a free decision without coercion, and to be able to take part with no obligation to continue should they choose to withdraw. Furthermore, given that literacy levels were likely to be relatively low among some individuals, it was important to gauge their competence to provide consent. In all cases, consent was subsequently taken on a one-to-one basis by a researcher, and, in some instances, a key worker (e.g. an education officer, tutor, case worker or personal officer) would be involved to provide support and guidance. It was emphasised to volunteers that they would be invited to consent at each stage of the research, with the option to withdraw at any stage without repercussions to them. The consent form is provided in Appendix J. 5.3.4 CONFIDENTIALITY AND DATA PROTECTION Caldicott Principles, used as the benchmark for safeguarding patient information within the NHS, provided the ethical framework for maintaining confidentiality for this research. Under these principles, while the project team was aware of the names and identities of participants during the programme, all personal identity data were anonymised in order to protect and respect individual participants’ identities and privacy, to ensure anonymity and confidentiality throughout data management, processing and analysis. Personal identities are not disclosed in this report and all person-identifiable information has been removed from all the data published here. Personidentifying information was only used for the purposes of recruitment and consent. Following 30 | P a g e
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 16 and 17: support via a high staff to detaine
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 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
Page 66 and 67: Due to the highly transient nature
Page 68 and 69: In terms of layout, the WEMWBS and
Page 70 and 71: Table 12. Responses to the Music Pr
Page 72 and 73: ‘play’ on i-tunes but that he w
Page 74 and 75: participants, and they therefore to
Page 76 and 77: Some groups had clearly gelled befo
Page 78 and 79: Identifying Stake The musicians enc
Page 80 and 81: One participant said he never did a
Page 82 and 83: Negative expression was exhibited b
Page 84 and 85: The lyrics almost sound mature and
Page 86 and 87: Coping with Pressure Most participa
Page 88 and 89:
6.3.3 FACTORS UNDERLINING SUCCESSFU
Page 90 and 91:
shyly has a go at it. The musician
Page 92 and 93:
overtime by twenty minutes, but eve
Page 94 and 95:
The musician encouraged her to take
Page 96 and 97:
came over to me and asked me where
Page 98 and 99:
Communication Neither the project n
Page 100 and 101:
young people. While some staff enco
Page 102 and 103:
Pride and Audience The workspace in
Page 104 and 105:
Participants complained about the s
Page 106 and 107:
inhibited opportunity to build grou
Page 108 and 109:
their home lives and within their c
Page 110 and 111:
Within custodial settings, informal
Page 112 and 113:
Purposeful Activity and Use of Time
Page 114 and 115:
An Opportunity not to feel Stigmati
Page 116 and 117:
Improved Self Confidence Participan
Page 118 and 119:
R: Thanks for my certificate ... I
Page 120 and 121:
I’ve had my mates and that tell m
Page 122 and 123:
I: Do you think you’d like to pla
Page 124 and 125:
Developing an Identity as a Musicia
Page 126 and 127:
Some perceptions of a career in mus
Page 128 and 129:
He wanted to get onto a music cours
Page 130 and 131:
6.3.5 INTERVIEWS WITH MUSICIANS & S
Page 132 and 133:
eceived training for working with p
Page 134 and 135:
Most of the programmes had schedule
Page 136 and 137:
Improving Programme Design The less
Page 138 and 139:
However, on some occasions, musicia
Page 140 and 141:
and difficult to manage. Group Dyna
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MAKING PROGRESS Support The musicia
Page 144 and 145:
Sense of Achievement and Ownership
Page 146 and 147:
you know? You could have an amazing
Page 148 and 149:
who was a skilled MC and could impr
Page 150 and 151:
I: So, do you think it’s helped y
Page 152 and 153:
not like the idea of having so many
Page 154 and 155:
depended upon good relationships wi
Page 156 and 157:
agency - and thus to be able to par
Page 158 and 159:
SECONDARY RESEARCH OUTCOMES As disc
Page 160 and 161:
9.0 REFERENCES Anderson K, Overy K
Page 162 and 163:
Ellis J, Gregory T (2011) Demonstra
Page 164 and 165:
Ministry of Justice (2013b) Transfo
Page 166 and 167:
Wickham T (2008) Urban Beatz 2007 a
Page 168 and 169:
159 | P a g e APPENDICES
Page 170 and 171:
APPENDIX B Ethical Approval Confirm
Page 172 and 173:
RESEARCH PROPOSAL APPENDIX B MUSICA
Page 174 and 175:
support these kinds of intervention
Page 176 and 177:
for improved mental health, and are
Page 178 and 179:
As stated previously, the quantitat
Page 180 and 181:
STEERING GROUP MEMBERSHIP & TERMS O
Page 182 and 183:
MUSICAL PATHWAYS RECRUITMENT POSTER
Page 184 and 185:
RECRUITMENT SESSION BRIEFING APPEND
Page 186 and 187:
177 | P a g e STAFF / MUSICIAN CONS
Page 188 and 189:
CONFIDENTIALITY AGREEMENT FORM APPE
Page 190 and 191:
181 | P a g e
Page 192 and 193:
183 | P a g e
Page 194 and 195:
185 | P a g e APPENDIX M
Page 196 and 197:
FOLLOW-UP LETTER TO PARTICIPANTS AP
Page 198 and 199:
INTERVIEW SCHEDULE - SITE STAFF APP
Page 201:
Superact Somerset College Wellingto
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