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We have been using our six categories of Youth Participation to review the ways in which we are working collaboratively with young people whilst supporting other organisations to do the same.

Working on the Concept days mixed old skills with new, the young people all seemed enthusiastic and keen to learn, their experience ranging from those with developing passions for music, though those wanting to build on school music classes, to some who had little experience at all.

Fundraising for arts activities is a highly competitive process that can be very time-consuming with disappointing results. Written by Sound Connections Chair Katrina Duncan, this guide is intended to help you think before you take the plunge, to consider how to prepare for making your pitch for support and do all you can to ensure that your bid is the best it can be.

Demonstrating impact is a hot topic. Terms such as outcomes framework, Theory of Change, Cost Benefit Analysis, causality and soft versus hard outcomes are increasingly commonplace and it can be overwhelming figuring out what this all means and how it applies to you. In music education evidencing impact is often a complicated business, and funders require different types of evaluation.

In January of this year I was given the chance to work as an intern for pedestrian. This wasn’t the first internship I had undertaken in an educational facility but it was the first time I would be working with the students and not behind the scenes as a technician.

The stiff-bristle broom used to sweep stray sand back into the sand pit at the Centre where I was working was so old and worn out there were very few bristles left. Sand had to be pushed, rather than swept, back into the pit. With no budget for glue sticks, books or toys, let alone brooms, staff were struggling with this task. There is a limit to what staff, including temporary project-based staff like me, can contribute to the overheads of a state-funded nursery by buying consumables. There is also a limit to using worn-out equipment that is not fit for purpose. To subsidise or not to subsidise...?

Hi everyone, does anyone out there work on high quality music projects and is interested in developing a digital music exchange? We have made an album in partnership with young people in the Congo, an EP with New York, and are now looking for new partners. Most of the young people we work with make rap music, but we are interested in any style. Thanks!

A leaflet with updates of the past year of our project at Bollo Brook Youth Centre and Young Adults Centre in Ealing, London.

On Monday 27th March 2017 the Musical Director, Amba Tremain, ran a Music Leader workshop for staff and volunteers from The Urban Vocal Group. The workshop covered many important topics involved with running a music session with young people; the room was full with potential tutors, volunteers and current UVG staff members. 

A summary of the key findings from my Early Years Music Mapping and Consultation for Wiltshire Music Connect has just been published.  The report is a first step for the Hub to identify different types of current provision across the county, issues and priorities for music specialists and settings, and how the Hub could potentially support EY music making. 

As Project Co-ordinator for Exchanging Notes Hartlepool I’m always looking for ways to broaden young people’s horizons. Something else I look for is new approaches to Arts Award. I have some work that I’d like to share that has achieved both of these aims.