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Unlocking the Song Within: Applied Process for Writing Collaborative Songs with Youth-At-Risk Peter Satchell

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Unlocking the Song Within: Applied Process for Writing Collaborative Songs with Youth-At-Risk Peter Satchell Unlocking the Song Within: Applied process for writing collaborative songs with youth-at-risk Peter Satchell Submitted in partial fulfillment of the requirements of the degree of Master of Sound Design by research creative work and written commentary. Wednesday 23rd September 2020 Creative works and other documents can be found by clicking on: ‘Pete Satchell MFA Thesis’ or https://www.dropbox.com/sh/hg2sl6j51njrxy8/AADgW46ctSvlI7oli_tTmQKDa?dl=0 The files accessed by these links are confidential and are only to be accessed by the examiners and relevant University of Melbourne staff. The University of Melbourne Supervisor: Doctor Roger Alsop Orcid ID: https://orcid.org/0000-0003-3145-8156 Abstract Songs and song-writing are an integral part of society. Positively engaging youth in the medium of music and song-writing holds significant benefits for the whole community. Youth crime, recidivism, unemployment, and disengagement from education, and consequent alienation from mainstream society within this cohort exists. Increasing numbers of youth are becoming exposed to the Victorian justice system, with record numbers of secondary education ‘dropouts’, makes these problems exacerbate. The project intends to outline a possible arts-based process for ameliorating this. The broad aims of this project are to document a song-writing process with youth-at-risk based on my practical/personal experience, and to publish the outcome for similar facilitators. This outcome is intended for those with no formal training in Music Therapy. Song-writing is well documented as having beneficial effects with youth-at-risk, though there is currently little documentation on actual processes for collaborative song-writing with youth-at-risk. This is identified as a problem, as idiosyncratic processes are normally used by facilitators, and there is a lack of knowledge sharing. By developing and publishing actual processes, new approaches may be used and then interrogated further by practitioners. In over six years of song-writing with youth-at-risk in different contexts and settings, I have found that self- expression through song-writing can help achieve a better self-worth and lead to a healthier, happier, and more productive life for the individuals I have worked with. The approach to this study is to examine relevant literature, develop a process for collaborative song-writing with participating youth-at-risk, test this process through co-writing songs with youth-at-risk, and document the co-writing activity to further develop the process. The value of this process to the participants will be assessed using questionnaires before and after the song-writing activity. The participants are youth deemed ‘at-risk’ by the Victorian Department of Health and Human Services and were identified through Living Music Australia. i Declaration This is to certify that: I. The commentary comprises my original work towards the Master’s degree. II. Due acknowledgement has been made in the text to all other material used. III. The commentary is 31,218 words in length, inclusive of footnotes, but exclusive of tables, maps, bibliographies, and appendices. The thesis without the footnotes is 31,218 words as approved by the Graduate School, Faculty or RHD committee. Acknowledgments I would like to thank my supervisor, Doctor Roger Alsop, for his encouragement and enthusiasm for the research. Special thanks: Special thanks to my family, Penny, Sadie and Veronica, and my parents Tony and Mary, who have always supported of the life of the creative artist . Colleagues: I would like to thank Andrew McSweeney for his support and the use of Living Music Australia’s studio where I conducted my research and to Ben Wiesner and Matt Voigt for supporting and encouraging my research. Notes: The referencing style is Author-Date, as recommended by the University of Melbourne, and implemented via Endnote 9. ii Table of Contents ABSTRACT ......................................................................................................................... I TABLE OF CONTENTS ........................................................................................................ III Table of Figures......................................................................................................................................... ix CHAPTER 1: INTRODUCTION .............................................................................................. 1 Structure of this document ......................................................................................................................... 2 CHAPTER 2: LITERATURE REVIEW ...................................................................................... 3 Who are youth at risk? ............................................................................................................................... 3 Youth-at-risk in Australia? ....................................................................................................................................4 Benefits of Song-writing with Youth-at-Risk ........................................................................................................4 Facilitator or Therapist? ............................................................................................................................. 5 Why are Youth-at-Risk attracted to Hp Hop? ............................................................................................... 6 Processes of song-writing with youth-at-risk ............................................................................................... 6 What is a collaboration with youth-at-risk? ....................................................................................................7 Synthesis of current literature .................................................................................................................... 8 What is missing?...................................................................................................................................................8 How I intend to fill this gap ..................................................................................................................................8 Potential Benefits .................................................................................................................................................8 CHAPTER 3: METHODOLOGY ............................................................................................. 9 Current Methodology’s in the field ............................................................................................................. 9 International.........................................................................................................................................................9 Domestic including New Zealand ...................................................................................................................... 14 Discussions with Colleagues ..................................................................................................................... 16 Considering these approaches .................................................................................................................. 17 What I am doing ...................................................................................................................................... 17 Diagram of methodology .......................................................................................................................... 19 Argument for this Methodology ............................................................................................................... 20 Conceptual Framework ............................................................................................................................ 21 CHAPTER 4: ANECDOTAL EXPERIENCE ...............................................................................22 My experience of creating a collaborative musical work with youth-at-risk. (Retrospectively)..................... 22 Collaborator or Mentor? .......................................................................................................................... 22 iii Collaborating with participants in a correctional facility ............................................................................ 22 Collaborating with participants who are not in a correctional facility ......................................................... 23 CHAPTER 5: SONG-WRITING PROCESS ..............................................................................24 The 3 Stage - 25 Step Collaborative Song-writing Model ............................................................................ 25 Stage 1 – Foundational - Steps 1 – 10 ............................................................................................................... 26 Stage 2 – Development – Steps 12 – 17............................................................................................................ 29 Stage 3 – Refinement / Assessment – Steps 19 – 25 ........................................................................................ 31 My collaborative process with the 3 participants from Living Music ........................................................... 33 Living Music Studio........................................................................................................................................ 34 Equipment used for this Research ...............................................................................................................
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