project - network.youthmusic.org.uk trust... · • at project outset some support staff members...

Professor Adam Ockelford and Dr Rachel Swindellscollaborate as part of the Seashell Trust

‘Common Pulse’ Gamelan Project

project

Summary Evaluation Report – July 2016

Seashell Trust ‘Common Pulse’Gamelan Project

Adapted by Louise Rottier from the following reports written by Dr Rachel Swindells:Youth Music Programme - First Milestone Narrative Report submitted 31.12.14

Youth Music Programme – Final Evaluation Narrative Report submitted 26.11.15Youth Music Programme – Short Underspend Evaluation Report submitted 27.04.16

www.seashelltrust.org.uk

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Summary Evaluation Report – July 2016

What was the Seashell Trust ‘Common Pulse’ Gamelan Project?In May 2014 Seashell Trust was delighted to be awarded a grant of £45,231 by the National

Foundation of Youth Music to deliver the agreed outcomes of the Seashell Trust ‘Common

Pulse’ Gamelan Project. The idea for the initiative grew out of a recognition that the bespoke

Javanese gamelan set housed in the gamelan suite of Royal School Manchester (RSM) at

Seashell Trust was a valuable, but somewhat dormant resource, which if re-awakened could

readily be exploited to deliver a programme of effective workshops to a wide variety of

audiences.

What is Gamelan?Gamelan is a type of percussion orchestra, which has a rich musical history and cultural

heritage in Indonesia and offers the opportunity for a unified, collectivist form of music-

making. It is particularly well suited to inclusive group music-making: gamelan can be

accessed by participants with little or no prior experience, whilst still being able to excite

even the most expert of players. Also because there little discernible hierarchy between

gamelan musicians, the ensemble tends to engender an immediate sense of group unity.

The Seashell Trust gamelan comprises a variety of gongs, metallophones, xylophones and

drums and was specially constructed in the city of Yogyakarta in Central Java in the

mid-1990s.

Why did Seashell Trust wish to host agamelan project?Seashell Trust already enjoys recognition for its expertise in providing outstanding education

and care to children and young people with some of the most profound and multiple learning

difficulties and sensory impairment in the UK. Many of the students who attend Royal School

Manchester on the Seashell Trust site have little or no verbal communication.

By hosting the ‘Common Pulse’ Gamelan Project at Seashell Trust, Director of Education

and ‘Common Pulse’ Project Director, Jane Woodward sought not only to re-establish the

Seashell Trust gamelan at the heart of Royal School Manchester’s musical curriculum, but

also to share any expertise gained through the innovative project with her own staff team,

as well with partner schools and in the wider community.

our instruments...

from left to right: gong, bonang, kendhang, slenthem, saron

www.seashelltrust.org.ukSummary Evaluation Report – July 2016

Who was involved?The Seashell Trust ‘Common Pulse’ Gamelan Project was set up as a knowledge exchange project in

partnership with The Research Institute for Health and Social Change, Manchester Metropolitan University.

Prof Juliet Goldbart, Director RIHSC MMU oversaw the robust and expert evaluation of both practice and

participation, whilst Dr Rachel Swindells, Senior Research Assistant at RIHSC, MMU played a pivotal role as

lead gamelan practitioner.

Specialist community musicians Ros Hawley and Mark Fisher added much valued experience to the project

team, having worked as RSM Musicians-in-Residence for many years. They assembled a talented team of

music volunteers in July 2014, which included Rachael Moat and Ann Durnford.

The Seashell Trust project team was led by Project Director Jane Woodward and was supported by

Audiologist Jane Douglas, Lead Practitioner for Mental Health Debbie Grogan and Specialist Speech and

Language Therapist Beccy Timbers. Finally Louise Rottier completed the project team, when she took up

her role as Seashell Trust Gamelan Project Co-ordinator in October 2014.

When did the Seashell Trust ‘Common Pulse’Gamelan Project commence and end?When the project team hosted a Seashell Trust ‘Common Pulse’ Gamelan Project Symposium in October

2015, the vast majority of intended project outcomes had been delivered. The Symposium offered the valuable

opportunity to share findings with external music practitioners, academics and teaching staff.

All project deliverables were complete by the agreed deadline of November 2015 well within budget and with

a resultant grant underspend.

The National Foundation for Youth Music therefore agreed not to pay the third instalment of the grant.

Proposals for the use of the grant underspend were agreed in early February 2016 and delivery completed

by July 2016.

Left to right:Rachael Moat,Louise Rottier, Ann Durnford, Dr RachelSwindells,Ros Hawley, Prof Adam Ockelford, Mark Fisher,

Niamh Leneghan

project team

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Key Project Statistics

A total of 540 participantsattended Seashell Trust ‘Common

Pulse’ Gamelan Project grantfunded workshops between May2014 and July 2016, 337 of who

were children and young people.

A total of 103 different SeashellTrust ‘Common Pulse’ GamelanProject grant funded gamelan

workshops ran between May 2014 and July 2016

52 Student gamelan workshops

26 Holiday club gamelan workshops

12 Family day gamelan workshops

6 Staff trainingworkshops

3 Taster gamelan workshops

3 Family Creative Arts Day workshops

1 Symposium event

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Agreed Project Aimsand Outcomes

Outcomes:• The project team sought to create a ‘community of

practice’, as defined by Wenger et al., 2002 and to work

collaboratively by drawing strength from its wide-ranging

expertise. The full project team comprised an ethno-

musicologist, specialist community musicians, a mental

health practitioner, an audiologist, a developmental

psychologist, SEN education practitioners, a specialist

speech and language therapist and a project co-ordinator

and strived towards achieving the highest quality and

standards of music delivery for children and young people.

• The project musicians adopted the mantra ‘keep it

musical!’ All gamelan workshops were grounded in a holistic

community arts approach and primarily aimed to immerse

participants in an aesthetically pleasing sound world, in

order that they could experience what it feels like to be part

of a musical group. Therapeutic outcomes intentionally

flowed from this mantra.

• Amalgamated scores regarding quality and standard of music delivery by staff supporting students for the

first and last sessions of student workshops were 8/20 and 17/20 respectively. Such a dramatic increase

would evidence a perceived improvement in the quality and standards of music delivery, as a result of

participation in The Seashell Trust ‘Common Pulse’ Gamelan Project workshops.

• In order to drive quality and standards in music delivery for children and young people with profound and

multiple learning disabilities, the core team of project musicians allowed a workshop structure to emerge

whereby traditional gamelan repertoire was interspersed with opportunities for more free, student-led

improvisation and interaction. While most students could not verbalise their preferences, they could and did

show the musicians what they did and did not enjoy. Musicians’ creative responses sought to mirror students’

sounds, gestures and/or vocalisations and in aiming to ‘be responsive’, the musicians made the project

workshops less about providing a music intervention to generate predetermined outcomes, and more about

providing a responsive space in which participants’ own interests, preferences and abilities might emerge.

This is in accordance with the model of intensive interaction (Nind & Hewitt,1994), a non-directive, play-based

technique for promoting communication skills, used more generally within the Seashell Trust, but also by

support staff within the context of this project (also see Aim 5).

“As musicians we learn to listen to PMLD pupils... we have to step into their world of sound – their time,their pace, their sense of music – so that we can understand and say, ‘I can hear you in our music making

together’. Music with these children is about touch, feel, sensation and frequency. It is about trust, confidence and feeling comfortable. It is about expression, but in order to be heard, we need to make it

known that we are ready to listen” (Project musician’s reflective notes)

Ros Hawley experimentingwith ‘being responsive’ tostudent’s reaction to thesound of the kendhang

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To improve the quality and standards of

music delivery for children and young peopleAim 1


Agreed Project Aims and Outcomes

Outcomes:• Project musicians engaged in 46 hours of reflection and collaborative planning around workshop delivery.

• At project outset some support staff members did not think of gamelan as a unified ensemble, but more

as a set of individual instruments to be played in isolation as part of one-on-one with their student. On seeing

that their student was able to relax when experiencing group playing, they remarked on having a fresh opinion

of what gamelan could be.

• The project team delivered 6 staff training workshops to over 80 members of staff over the duration of

project. Average rating of the value of these training sessions by staff participants was 9 (where 1=poor and

10=excellent.)

• 7 members of teaching staff from a partner school rated staff training positively and subsequently booked

more workshops for different groups of their students.

• A Seashell Trust audiologist and speech therapist set up a separate gamelan project to explore whether

the gamelan (in particular, resonant, lower pitched instruments such as the slenthem) could be used to en-

courage hearing aid use. That some students seemed able to tolerate their hearing aids for longer in the

gamelan sessions was an unanticipated, but welcome outcome of the project.

• Culmination Symposium attendees gave positive feedback regarding effective practice. One attendee was

so inspired our event, she became Seashell Trust ‘Common Pulse’ Gamelan Project volunteer.

• Links with the research community were forged and project findings were shared in a variety of ways:

• A presentation about the project was delivered by the project team to the Governors of Royal

School Manchester on 14th October 2015.

• An article about the project was published in January 2016 edition of PMLD Link magazine.

• Findings from the project were also presented at the following national/international conferences:

• Research Institute for Health & Social Change (RIHSC) Annual

Conference 2015, Manchester Metropolitan University, 2nd July 2015

• Festival of Community Psychology 2015, British Psychological

Society, Manchester, 20th November 2015

• A poster presentation about the project was delivered by Prof Juliet

Goldbart (Manchester Metropolitan University) at The British

Academy for Childhood Disability Annual Conference: Behavioural

Aspects of Neurodisability (Birmingham, March 2016).

• Dr Rachel Swindells presented a paper entitled ‘And have they made

progress?’ Evaluating the outcomes of a participatory music project

for children and young people with complex learning difficulties in a

school setting', MMU FRIHSC conference 2016.

• A poster presentation is also due to be delivered by Prof Juliet

Goldbart at the International Association for the Scientific Study of

Intellectual and Developmental Disability (IASSIDD) conference

(Melbourne, Australia, August 2016).

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Aim 2To embed learning and effective practice in

host and partner organisations and share

practice beyond the project


Agreed Project Aims and Outcomes

Outcomes:• Owing to the profound nature of their disabilities, the core participants attending student workshops could

not provide verbal commentaries about their experiences. Instead, close observation and ongoing feedback

from attending teachers, therapists and support workers was used to assess the efficacy of given activities.

• Video footage of select students was examined using a simplified version of the Sounds of Intent

framework (Ockelford & Welch, 2012) and Framework for Recognising Attainment in Intensive Interaction

(Firth & Barber, 2011).

• Analysis shows developing musical competencies were observed in these students according to Sounds

of Intent:

• Reactive Domain SoI levels 1 to 5

• Proactive Domain SoI levels 1 to 4/5

• Interactive Domain between SoI levels 2 and 3

• The majority of students were assessed as working between levels 1 to 3, but some individual’s musicalcompetency was coded as 5 out of maximum 6 for their proactive and reactive musical engagement

• An Indonesian performance model, where there is less of a stark distinction between player and audience,

was adopted for weekly student workshops: participants were encouraged to access the sessions in their

own way for example by playing (co- and/or pro-actively), singing/vocalising, dancing, listening, observing,

Those who needed more structure, followed visual PECS symbols. Likewise, a pragmatic approach was

taken to attendance. Students and staff were invited to drop in and out of sessions as appropriate to

individual needs. In this way the playing of the gamelan pieces by project musicians provided a familiar

framework and enjoyable musical backdrop, which in turn nurtured social interactions and musical

conversations between staff and PMLD students.

• The student workshops were found to help to start to develop social skills for some students, in that

students started to show a tolerance for working in a busy group setting, a task that many usually find difficult,

if not impossible. Over time, as the students grew more accustomed to the routine of the weekly workshops,

a sense of group identity and cohesion was also observed.

• A Seashell Trust audiologist explained that if one of her students is sufficiently interested and intrinsically

motivated to be responsive, live music offers a unique opportunity to engage:

I very much believe that young people with such complex needs are much more motivated by the patterns, dynamics and intonation of music rather than meaningless continuous dialogue...

An on-going consistent project such as this can only be of benefit (Audiologist, Seashell Trust)

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Aim 3To develop the musical competencies, social

skills and wellbeing of children and young

people with profound and multiple learning

disabilities and sensory impairment at Seashell Trust and

in the wider community through participation in an innovative,

collaborative gamelan project.


• Staff members observed individual students seemed to relish having a greater sense of control and

empowerment, when they were allowed to conduct the group to start and stop playing gamelan pieces.

Workshop participation was also reported to have reduced student anxiety and improved concentration, both

within and after the sessions.

• The student workshops were observed to enhance wellbeing by generating various indicators of positive

mood, enjoyment and intrinsic motivation. Instances of hedonic wellbeing (momentary enjoyment, happiness)

and eudaimonic wellbeing (engagement, intrinsic motivation) (Ryan & Deci, 2001) were evidenced.

• Other evidence of improved wellbeing included:

• The ability to stay in the room for increasing periods of time; eagerness to attend gamelan

• Improved eye contact in workshops: smiling

• Physical responses to music: expressive jumping, dancing, foot tapping

• Increased vocalisation, often accompanied by verbal or non-verbal requests for ‘more music’

• Reduction in self injurious behaviour; more settled, focused, relaxed behaviours

• Intent listening and self-initiated playing

• Identification of favourite instruments and pieces

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Aim 3 Outcomes: Continued...


Outcomes:• Real anxieties existed for the project musicians at the outset, regarding perceived gaps in their skills,

knowledge and confidence to use the gamelan to good effect with PMLD students. However a valuable space

for practice sharing and discussion was offered by regular planning, advisory group and evaluation meetings.

This provided the opportunity to share reflections and experiences after each gamelan workshop, which

meant skills, knowledge and confidence evolved rapidly.

• Project musicians Mark Fisher experimented with the inclusion of the electric guitar in the gamelan

soundscape, which facilitated the nuanced musical imitation of student vocalisations and gestures. His

innovative improvisations led indirectly to the composition of the ‘Seashell Gamelan’ song, which was sung

by all project musicians midway through subsequent student workshops. The lead gamelan practitioner

commented that this instinctive layering of gamelan pieces with singing was an authentic Indonesian gamelan

tradition. In this way the skills and knowledge of music practitioners grew because individual project musicians

gradually developed the confidence to experiment.

• Training of teachers and LSAs was identified by the project team as perhaps the most essential element

of the project, if the quality and standard of gamelan use was to be sustained beyond the project’s life. The

main aims of providing ongoing opportunities for the bespoke training of teachers and LSAs was to give an

opportunity to discuss the value of gamelan music-making for staff who have responsibility for teaching

children and young people with PMLD and to build staff confidence in relation to their using the gamelan with

students at times when the project musicians were not available to lead sessions. This will need to be an on-

going process, but a particularly poignant indicator of the project’s success is the gains made in staff confidence

using the gamelan: when individual staff members were asked how confident they felt about using the gamelan

before the first training session on a scale of 1 – 10 (where 1 = not at all and 10 = very confident) the average

score was 4.6. Asked the same question after the training session the average score given was 7.3.

• The aim to build knowledge, skills and confidence in practitioners and teachers from the wider community

was extended to the 59 individuals by offering bespoke training to those who attended one of the 3 symposia

(2 mini symposia and one culmination event).

• A major step forward for project sustainability was the formal appointment in October 2015 of two of the

volunteer gamelan project champions as the new Musicians-in-Residence. When planning how best to utilise

grant underspend, it was decided to prioritise their training needs and develop a bespoke training programme

to fully ‘handover’ responsibility for continuing the work started by the Seashell Trust ‘Common Pulse’

Gamelan Project. In so doing the project team aimed to further bolster their skills, knowledge and build

confidence and equip them to continue to lead two weekly student gamelan workshops during term time and

with a view to training them how best to adapt their practice, should they be required to lead gamelan

workshops in any outreach capacity.

Confidence levelsPre-training

Post-training

1 2 3 4 5 6 7 8 9 10

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Aim 4To increase the skills, knowledge and

confidence of music practitioners, SEN teachers,

therapists, support assistants, residential staff,

carers and volunteers using gamelan with

children and young people who have complex needs through the

sharing of expertise, bespoke training and research dissemination.


Outcomes:• From the outset of the project no individual practitioner felt themselves to be the project expert. Instead

members of the project team were motivated to work collaboratively, in what was a new endeavour for all.

Transdisciplinary discussions revealed each practitioner held preconceptions of what ‘music’ is and that each

had their individual therapeutic objectives for students attending the Seashell Trust ‘Common Pulse’ Gamelan

Project workshops. Despite this seeming tension, practitioners were united in their belief musical participation

brought with it the opportunity to explore enormous benefits for PMLD students, if they were ready, willing

and able to engage in gamelan workshops.

• Evaluation meetings and symposia events led to rich discussions about the potentially wide ranging

benefits of participatory music-making for children and young people with PMLD. Feedback from these

events suggests the gamelan project helped to shine a light on students’ innate musicality and the importance

of valuing this for its own sake.

• That said the non-musician project practitioners persisted in their desire to evidence these wider benefits

and as such several observation/measurement tools were considered in evaluation meetings and symposia.

Two such tools were trialled as part of the evaluation process (please see case studies and outcomes from

project aim 3). This included the Sounds of Intent framework (Ockelford et al., 2012) and the Framework for

Recognising Attainment in Intensive Interaction (Firth & Barber, 2011). The project and evaluation teams

benefited from a personal visit from Prof Adam Ockelford, who introduced a simplified version of the Sounds

of Intent framework and discussed different ways of using this resource.

• Discussions which lead to raised awareness of the wider benefits of musical participation were supported

by several external experts:

• Dr Helen Loth (Senior Lecturer in Music Therapy, Anglia Ruskin University) led a symposium session on the 15 June 2015, presenting her own research regarding the benefits of gamelan in SEND settings

and in music therapy, and offering specialist advice in response to specific issues raised by attendingstaff members. More generally, Helen functioned as a 'critical friend' across the lifespan of the project,providing support and insights to the delivery and evaluation teams

• Matthew Laurie, guest speaker and trainer, discussed how he uses his own version of the Framework for Recognising Attainment in Intensive Interaction at the Project Culmination Symposium held in October 2015

• Reviewing each different tool, it became evident that no single extant measure could capture all of the

diverse outcomes which arose from the project’s gamelan workshops. Indeed, the non-directive, participant-

led approach to practice adopted in our gamelan workshop made it more likely for unanticipated outcomes

to emerge. While this may have detracted from the pursuit of predesignated goals as specified by particular

curricula or ratings scales, it does not mean that genuine attainments were not made. As stated in the Council

for the Curriculum, Examinations and Assessment’s (CCEA) Quest for Learning resource (developed for

students with PMLD in Northern Ireland), a responsive, person-centred approach may in fact be more likely

to yield desired outcomes.

PMLD cannot be summarised by a single number, and it is not good practice to have a 'score' in mindtowards which you are working”. As Hewett and Nind, (1998) state ‘if we try to teach strictly to the

attainments as targets in a controlled and directed fashion we will probably not be providing the typeof dynamic learning opportunities which commonly produce the attainments

(CCEA, Quest for Learning, 2007.)

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Aim 5To raise awareness of the wider benefits of

musical participation and identify existing

measures and/or develop new tools to record

and measure students’ progress in terms of

musical development, communication skills and wellbeing.


• More generally, the notion of ‘progress’ itself was found to require some consideration within the context

of the ‘Common Pulse’ Gamelan Project student workshops. A pertinent question arising was: whose progress

is actually being assessed? Given that students’ participation needed to be scaffolded by attending staff, it

was not always clear whether any observed progression was the result of an individual’s evolving ability or

the result of the project team managing to make an activity more accessible (or both).

• In order to support the newly recruited Musicians-In Residence, proposals on how best to use the unused

portion of the grant in early 2016 included the brief for the project team to consider adapting Royal School

Manchester’s in-house assessment tool (the “Next Steps” form). Dr Rachel Swindells met with specialist

SEND teacher and multi-sensory impairment consultant at Seashell Trust, Veena Ramrakhiani, along with

audiologist Jane Douglas, to discuss possible ways forward. Subsequently she and project musician Ros

Hawley created a document to summarise the outcomes observed over the course of the original gamelan

project, organised in terms of students’: i) musical development; ii) social skills and interaction; iii)

wellbeing/readiness to engage. Musical outcomes were defined and structured using a simplified and adapted

version of the Sounds of Intent framework (definitions of proactive music-making were extended to include

body movement/dance as well as ‘music as sound’). Also included was a revised version of the Framework

for Recognising Attainment in Intensive Interaction.

• On trialling this document with LSA’s, teacher Veena Ramrakhiani, felt this to be too complex for day-to-

day use. A final, more straightforward bullet point list showing simplified progress indicators was therefore

created in July 2016 and will be rolled out by teachers and Musicians-in-Residence for use by LSAs in

September 2016.

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Aim 5 Outcomes: Continued...


case

stu

dy

1Student with autistic spectrum condition

(name has been changed)

Participant Profile Omar is a lively and charismatic twelve-year old boy from a BME background in

North West England. His transfer to the Seashell Trust’s in house school, Royal

School Manchester, from another local SEN school in September 2014 coincided

with the beginning of the ‘Common Pulse’ project. Omar has the label of autism and

limited verbal communication. He also receives additional support from Seashell

Trust’s mental health team to help manage his anxiety and difficulty coping with

group situations. Indeed, the lead mental health practitioner initially referred Omar

to the gamelan project in the belief that taking part might help promote his

psychosocial wellbeing. Omar is known to enjoy music, a fact that is included on

his personal profile displayed outside his classroom.

Overview of Participation Omar attended the project once a week for the entire school year. He was always

accompanied by a minimum of two learning support assistants (LSAs) who followed

a fixed routine to prepare him for his gamelan session. In the early workshops, and

at times when he was feeling agitated thereafter, Omar’s LSAs would set a timer

and explain to him that he only had to remain in the gamelan room for a few minutes

until his timer beeped. Staff feedback from an early session reads, “Omar was

already anxious on arrival but joined in with playing instruments. He stayed until the

timer buzzed” (Staff notes, 16.10.2014). It became apparent early on that Omar’s

ability to join in with the music was very much determined by his state of mind on the day. On some

occasions he could become excitable, tearing around the room or spinning in circles on the resonance

board. Alternatively, he could be more passive and withdrawn, staring out of the window at the horizon.

After the second week, the musicians recorded that while they felt Omar had had a rather ‘chaotic session’,

the mental health lead had communicated her delight that he had managed to stay in the gamelan room

for a full 5-minutes until his timer had sounded.

With this in mind, the project team had to readjust some of their expectations in terms of project outcomes

and realised that ensuring Omar felt safe in the sessions was key to his successful participation. Following

discussions with teachers and support staff, it was decided that it was important that the session format

and content remained consistent and predictable. Any changes or new materials were therefore

introduced gradually. Omar’s LSAs also supported him in the gamelan room by sitting aside him at the

instruments, gently encouraging him to join in (co- and pro-actively) or, when appropriate, to sit back,

relax and listen. It was also clear from the outset that it would not be practical for a student such as Omar

to stay for the whole 45-minute session. A flexible approach was required, with the workshops structured

to allow students to participate on a drop-in basis, albeit within an allocated time slot each week. Omar’s

LSAs were best able to judge when he was ready to come into the gamelan session, as well as when it

was time for him to leave.

Over time, as Omar became more comfortable, he was often able to stay in the sessions for increasingly

longer periods. The fact that he could attend the project for three whole terms enabled the musicians and

those working with him to adapt the workshops to better suit his needs. It transpired, for example, that

Omar enjoys singing and has a fine voice and so the inclusion of singing was one technique successfully

used to encourage him to join in with the group.

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case

stu

dy

1Outcomes

Wellbeing – Anxiety Reduction Omar’s LSAs were surprised at how the traditional gamelan repertoire helped

reduce his anxiety levels. The regular beat and cyclic melody were reported to have

helped Omar feel calmer and better able to tolerate the group setting. One support

worker further explained that being able to hear the gamelan being played as Omar

approached the room facilitated what was usually a difficult transition process.

The music functioned as an auditory cue and put him in the right frame of mind for

the activity.

“I have never seen Omar so calm as he is in gamelan. We can hear it as we approach

and it cues him in. The music - the regular beat and melody – and sitting aside him

‘brings him in’. Makes it safe enough for him… He struggles with a very busy

environment but the regular beat holds it together… The difference in Omar is

massive” (LSA)

The project was also felt to have played a role in helping Omar get used to the idea

that he had moved to a new school. In video footage of an early workshop in the

autumn term he can be heard poignantly repeating the name of his former school

as the music plays. However, he soon developed a liking for the project’s welcome

song, ‘Seashell Gamelan’, which he began singing himself at the beginning of the

spring term. A key moment occurred during a session in March in which, while

quietly listening to the music, he spontaneously declared aloud: “Seashell Trust!”.

Video footage reveals the mental health practitioner in the background signalling

an enthusiastic thumbs up.

Promoting Autonomy and ‘Flow’Omar evidently enjoys music – he would often look around at everyone and smile while playing – and the

music frequently captured his attention (“drew him in”) and helped steer him away from distractions. He

could be a highly self-motivated and self-directed musician. A couple of times, for example, Omar

surrounded himself with an elaborate arrangement of tuned gamelan pots and improvised patterns of

increasing complexity, continuing long after the rest of the group had stopped playing. Expanding and

extending a musical activity in this manner is identified by Custodero (2005) as an indicator of a ‘flow’

experience (Csikszentmihalyi, 2002), associated with optimal psychological wellbeing.

Social Skills, Interaction, CommunicationOmar’s LSAs felt that the emphasis placed on social interaction was the most valuable aspect of the

project. The regulating effect of the music enabled him to better cope socially in what was a busy

environment. Omar’s ability to participate was, though, impacted by person-specific factors (e.g. his

mood) but also changes to his routine or environment (e.g. a change of support staff). Coding his social

engagement using the Framework for Recognising Attainment in Intensive Interaction (Firth et al., 2011)

highlighted the variability of his responses observed even at the level of a single session. For example,

Omar could sometimes present at Level 1, Encounter, just about able to tolerate being in the session on

a timer for a short period, but without any obvious awareness of its content. More frequently as the project

progressed, he would arrive alert and responsive to what was happening (Level 3: Attention and

Response), but it would take time to draw him into more sustained and attentive Engagement (Level 4:

more sustained and attentive looking or listening). From time to time the project team also saw glimpses

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of higher levels of Participation (Level 5: anticipating and responding to others’

actions and taking turns) and Involvement (Level 6: more active and consistent

joining in and reaching out). For example, Omar was seen to: mirror the dynamic

changes of music made by a peer (e.g. copying a sudden crescendo heard across

the room); engage in turn-taking based improvisations with the guitarist – laughing

as he realised his own sounds and movements were being imitated; initiate singing,

as though to request the musicians join in with the gamelan song.

Musical DevelopmentAlthough sometimes only attending the sessions for a relatively short period each

week, Omar was identified as one of the most innately musical participants. He has

a tuneful singing voice and an instinctive sense of pulse and metre, manifest in his

rhythmic body movements and ability to play on-beat/off-beat patterns with

accuracy. The lead gamelan practitioner observed how he appeared to intuitively

pick up on several aspects of traditional gamelan performance practice, including

damping on the off-beat on the metallophones. Coding video extracts representative

of Omar’s optimum participation using a simplified version of the Sounds of Intent

Framework (Ockelford et al., 2012) revealed his high level of functioning, relative

to his peers, in the domain of music. His response to music or reactive participation

was coded at a maximum Level 5 (attends to whole pieces; recognises prominent

structural features; develops preferences). He certainly recognised the project’s

opening song and began to sing segments of it, along with refrains from his favourite

pop songs adapted to fit the tuning of the gamelan. Likewise, his proactive and

interactive musical engagement could be coded with confidence at a minimum Level

3 (makes simple patterns intentionally through repetition or regularity; interacts

through imitating others’ sounds of through recognising self being imitated). Omar could play in time to

the beat with ease, improvise repeated patterns, and was attuned to musical imitation. An illustrative

quote taken from the third term reads:

“Omar had an amazing session today. He sat at the bonang (tuned pots) and played in time on the beat

and off-beat. He has a great sense of rhythm. He then began to experiment with other pots tuned to

different pitches, which he began to place around him on the floor like a drum kit. The rest of the group

gradually began to follow him and, when Omar realised the guitar was playing what he was doing and

he was leading the improvisation, he grinned and carried on” (Musician’s reflective notes, 7.5.2015).

After the project concluded, the project team were informed that Omar’s father plays the piano but had

not managed to ‘teach’ his son in the formal sense. The musicians reflected on how the project had

nevertheless highlighted the importance of music for Omar’s enjoyment, personal development and

wellbeing. He is a young man who would benefit from continued music-making and music learning

opportunities which adopt a student-led approach.

case

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project

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14

Case study 1 continued


case

stu

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2Student with multisensory impairment

(name has been changed)

Participant Profile Ayesha, an engaging 11-year-old girl from a BME background in North West

England, was put forward for the Common Pulse project because she is known to

enjoy music and particularly the vibrotactile stimulation afforded by the gamelan.

Ayesha has a multi-sensory impairment and limited verbal communication, with a

diagnosis of auditory neuropathy that means her ability to make sense of, and

respond to, sound can vary. As such, she was one of several Seashell Trust students

attending the gamelan sessions with unique and complex sensory processing issues

that can be challenging to assess. It was explained that when such a student does

not respond to sensory stimuli it is sometimes hard to ascertain whether s/he cannot

perceive and/or process what is going on or whether the issue is one of motivation

to attend to the stimuli. With this in mind, Seashell Trust’s in-house audiologist was

keen for Ayesha take part to enable the ongoing observation of her hearing in

relation to an activity that she is known to enjoy. As the audiologist noted:

“I very much believe that young people with such complex needs are much more

motivated by the patterns, dynamics and intonation of music rather than

meaningless continuous dialogue... An on-going consistent project such as this can

only be of benefit” (Audiologist, Seashell Trust)

Overview of Participation Ayesha attended weekly gamelan sessions over the whole academic year

accompanied by a learning support assistant (LSA). She generally looked forward to coming to gamelan

and working alongside peers, and was often described as ‘relaxed’ in feedback from early sessions. That

said, Ayesha was not always in the mood to join in. While staff members sometimes attributed this to the

typical recalcitrance of early adolescence, it was also acknowledged that Ayesha’s visual impairment

made it difficult for her to navigate independently around the gamelan and to choose for herself what to

play. By the beginning of the second term, the school audiologist felt that Ayesha seemed to have become

a bit ‘stuck’, seated, as she often was next to a large drum for which she had initially shown a preference.

This prompted the project team to reflect on how, having found something that worked with a particular

participant, it was easy to slip into a routine rather than to risk exploring new ways of making music

together. In subsequent weeks, a conscious attempt was made to offer Ayesha greater choice in sessions.

What began to transform Ayesha’s engagement was the increased recognition that sound by itself was

not sufficiently motivating for her – Ayesha liked music to be an embodied experience. It also became

apparent that at least one of the musicians needed to work in close physical proximity to her to help draw

her into the group. It was found Ayesha particularly liked feeling the vibrating instruments with her bare

feet and towards the end of the project she began to prompt her support worker to take off her shoes (in

keeping with the gamelan traditional). It also became evident she needed time to process the music at

her own pace. One effective approach to engaging Ayesha was for her LSA to tap in time to the beat on

Ayesha’s body. An illustrative observational vignette from a session in May reads:

“Ayesha sits comfortably at the back of the room, her support worker gently tapping the beat of the music

being played on her arms. A musician joins in, reinforcing the beat on a drum placed close to her so she

can feel the vibration if she chooses. After some time she looks towards the direction of the musician,

smiles, and eventually, in her time, reaches out to feel the pulse being played for her on the drum”

(Musician’s reflective notes, 14.5.2015).

15


case

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2Case study 2 continued

Video footage illustrates how this bodily felt sense of pulse gradually prompted

Ayesha to reach out and play with one of the musicians. This first took the form of

co-active playing but then evolved into independent playing on the drum.

Wellbeing – Enjoyment and FocusAyesha’s pleasure in the gamelan sessions was evidenced through her shy smiles,

expressive vocalisation and the focused attention she paid to favourite instruments.

Towards the end of the project she also began to sign for “more” music. In the final

workshop in July this request came several times, with the music starting and

stopping at her behest long after the other students departed. This came as a

surprise to her support worker who explained that Ayesha had previously only asked

for ‘more’ in relation to the trampoline or food! The musicians reflected on how

Ayesha’s enthusiasm increased as the team found new ways of making the

sessions more accessible for her. In that sense, it was difficult to distinguish

Ayesha’s ‘progress’ from that of the musicians and supporting staff whose practice

developed across the project.

Social Skills, Interaction, CommunicationAyesha liked to relax and interact socially in the sessions with her own support staff,

the wider project team, and also on occasion her peers. The musicians reflected on the intimate feeling

of connection they felt when playing with/for Ayesha on a one-to-one basis. Her grin and fleeting eye

contact would transform into a broad smile, with Ayesha often vocalising and physically reaching out as

she became a more active music partner. It was acknowledged that on such occasions it became hard

for those working with her to keep the wider group in mind. Using the Framework for Recognising

Attainment in Intensive Interaction (Firth & Barber, 2011) to evaluate Ayesha’s social participation, it is

evident she often moved through several levels over the course of a session. On arrival she usually

demonstrated awareness of the music/group (Level 2 - Awareness: appears to notice an interactive

episode) but, as outlined above, usually needed to engage in some preparatory interaction and sensory

work before being able to fully attend and respond, for example, by smiling (Level 3 – Attention &

Response: begins to respond to interactive episode). Towards the end of the project, Ayesha began to

engage more consistently, focusing on a particular instrument and joining in for longer periods (Level 4

– Engagement: shows consistent attention to the interactive episode). On a couple of occasions, she

could even be considered to be approaching Level 5 of the Framework: Participation (shows anticipation

of, and engages in, taking turns in a sequence of events). This is evidenced in the following vignette:

“Ayesha vocalises in the silence after a piece of music has finished. She makes a distinctive ‘Gy, gy’

sound. M the guitarist, who has tuned his guitar specifically to match the gamelan tuning thus becoming

an extension of the collective of instruments, answers her, matching her pitch, and the downward slide

of her inflection. A turn taking dialogue ensues, with both partners at opposite corners of the room, but

knowing they are listening to each other and being listened to” (Musician’s reflective notes, 22.1.2015).

Outcomes

16


Musical DevelopmentFrom the outset of the project Ayesha demonstrated that despite her sensory

impairments, she could be a responsive music listener. In one of the first sessions,

a musician observed her turn her head to look several times in identification of

changes to a repeated melodic motif played on the bonang (tuned pots). Using a

simplified version of the Sounds of Intent framework (Ockelford et al., 2012), her

reactive musical development was, on a good day, assessed to be at Level 3

(recognises and responds to simple patterns formed through regular change).

Ayesha’s proactive and interactive musical engagement generally corresponded to

Sounds of Intent Levels 1-2 and 2-3 respectively. As outlined above, Ayesha would

in a single session move from a more passive vibrotactile experiencing of music to

co-active playing with her support worker or a musician (Proactive Level 1: sounds

are made or controlled through co-active movements) and independent playing with

a beater (Proactive Level 2: makes or controls sounds intentionally). As already

illustrated in relation to her social engagement above, Ayesha was sometimes

clearly aware when her own sounds or gestures were being imitated (Interactive

Level 3: shows awareness of own sounds being imitated). The Sounds of Intent

framework highlights possible routes for her future musical development.

Longer Term OutcomesTwo months after the final gamelan session Seashell Trust’s audiologist commented

that Ayesha has since “demonstrated a startling step forward in relation to her

listening skills, copying of simple sounds and rocking in tempo and rhythm”.

Whether Ayesha’s progress in this regard is related to her participation in the game-

lan project remains unknown, but given what was observed in the sessions one can conjecture it may

have, at least, played a role. The project reinforced how powerful live music-making can be for students

such as Ayesha with sensory impairment and communication difficulties and the importance of providing

bespoke music sessions on a longer-term basis.

case

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17

Case study 2 continued

project

proj

ject


The Seashell Trust‘Common Pulse’

Gamelan Project Legacy

The recruitment of Rachael Moat and Ann Durnford means that the knowledge they accumulated during their

involvement in the Seashell Trust ‘Common Pulse’ Gamelan Project as project volunteers will not only be

retained by Seashell Trust, but it may also be built upon. Their commitment to using the Seashell Trust gamelan

in student workshops remains and they have continued to lead two gamelan workshops each week of term

(amongst other music sessions) since October 2015 and until July 2016. Rachael has a specific interest in

music technology and is further developing a multi-media programme to facilitate further gamelan training.

The provision of a wide range of staff training toolkits and

associated resources

On their recruitment Musicians-in-Residence Rachael Moat and Ann Durnford defined gaps in their own

gamelan practice skills, knowledge and confidence. In response the project co-ordinator arranged a programme

of additional training and the creation of additional staff training resources to support their ongoing CPD.

These included:

• 1 x day of ‘Listening Skills’ training from ex-Seashell Trust audiologist, Peter Annear, who set up Seashell

Trust gamelan in the mid-90s and retains a passionate belief in the efficacy of its use to engage students

with PMLD.

• 0.5 day meeting to review existing training materials and sound files and define further needs. This meeting

also sought to discuss how best to proceed in finalising the creation of a meaningful evaluation tool for LSAs

to use in recording student progress in future gamelan workshops and the setting of future musical targets.

• 1 x day of ‘CPD’ training delivered by project musicians Ros Hawley, Mark Fisher and Rachel Swindells

to extend their repertoire, refine playing techniques, discuss challenges and possible solutions to leading

gamelan workshops to a variety of audiences, each of which have different and disparate needs. Subsequently

Ros Hawley and Rachel Swindells produced a Musicians’ Toolkit to assist in musical development, social

interaction and wellbeing when delivering gamelan workshops to PMLD students.

Recruitment of project volunteers, Rachael Moat and Ann

Durnford to Musician-in-Residence roles at Royal School

Manchester, Seashell Trust

Musicians in

Residence

Rachael Moat and

Ann Durnford

18


The Seashell Trust ‘Common Pulse’ Gamelan Project Legacy continued...

• 1 x day of working collaboratively with experienced gamelan practitioners Simon Steptoe and Dr Rachel

Swindells to deliver 3 x gamelan workshops as part of Royal School Manchester’s Family Creative Arts Day.

Subsequent delivery of training resource to cover annotation of complex traditional gamelan pieces, advice

on how to run structured gamelan workshops depending on the audience and their needs, plus starting points

for composition and improvisation.

• Trialling of the use of existing audio recordings, made of the project team ensemble playing a variety of

gamelan pieces, in student workshops. These recordings afford Musicians-in-Residence the opportunity to

have authentic gamelan pieces playing for support staff and students to play along with, whilst freeing the

musicians to move around the room and engage in more intensive interactions, sometimes improvising using

their clarinet or flute, to further enhance the musical engagement of individual students. These audio

recordings can also provide a ready-made framework for classes or individual students to use when the

Musicians-in-Residence are unavailable to lead gamelan workshops.

Replacement of damaged gamelan components and beatersThe Seashell Trust Gamelan is now in a much improved state of repair than it was at the outset of the project.

The rather battered and out-of-tune bonang pots (mini tuned gongs) and larger kempul gongs have all been

replaced, thanks to match-funding provided by Arley Hall Christmas Shopping Spectacular. New instruments

were ordered to match the unique slendro tuning of the ensemble, constructed by hand by a gong smith in

the central Javanese city of Surakarta and shipped to the UK in July 2015.

Some of the other instruments have also been re-strung and repaired, with the Seashell Trust gamelan suite

further benefitting from brand new sets of traditional Javanese beaters and Western therapy beaters. To help

limit future damage, posters displaying the correct beater and strike point of each of the named instruments

will be displayed in the gamelan suite.

Seashell Trust received replacement

bonang, kempul and gong through

match funding from Arley Hall

Christmas Shopping Spectacular

19

project

project

ject


The Seashell Trust ‘Common Pulse’ Gamelan Project sought to engage the local community through the

inclusion of gamelan workshops in holiday projects and family days. The former were delivered in partnership

with Seashell Trust’s CADS (Children’s Able and Disabled Sports) team and involved children and young

people from Stockport and the wider Greater Manchester area. The latter, which were organised in

collaboration with Seashell Trust’s family liaison and swimming teams were open to local families,

including disabled young people and their siblings, as well as residential students and their carers.

A total of 72 adults (parents and carers) attended the four family events. Feedback from participants and

organisers was extremely positive and the gamelan identified as a fantastic resource for intergenerational

and mixed ability outreach work. All events charged a nominal fee and were sold out. Participants stated they

would be willing to pay the same or more and expressed an eagerness to attend future family gamelan events.

&

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20


Opportunities to Build On Successful Collaborations

The Seashell Trust ‘Common Pulse’ Gamelan Project also involved successful joint

workshops with visitors from two SEN schools: Cavendish High School Academy, Runcorn and Valley School,

Stockport. A teacher from Valley School has subsequently brought colleagues and students to attend

additional gamelan workshops. She has expressed an interest in attending additional workshops for her

students using the Seashell Gamelan and expressed a willingness for Valley School to be charged for this

service. This teacher also contributed to evaluation discussions as part of the final symposium event.

Symposia events provided an opportunity for an even wider audience to access the project. The culmination

event was marketed to Seashell Trust staff, governors and parents, representatives from partner organisations

and, through relevant networks, other interested professionals and members of the public. In this instance

they were provided free of charge, but the opportunity to charge and retain the number of attendees

definitely exists.

The Seashell Trust ‘Common Pulse’ Gamelan Project team extendsits thanks to key partner organisations and individuals who have

contributed to the success of the project, namely:

Manchester Metropolitan University (MMU): • Prof Juliet Goldbart (Director, Research Institute for Health and Social Change) has overseen

the project evaluation.

• Dr Rachel Swindells, a part-time senior research assistant at MMU was the lead gamelan practitioner

and helped gather data for the evaluation.

University of Roehampton: • Prof Adam Ockelford attended the project on 26th Feb 2015 and shared his expertise reusing the

Sounds of Intent framework.

Anglia Ruskin University: • Dr Helen Loth led a symposium session on the 15th June 2015 exploring gamelan in music therapy.

Royal Northern College of Music (RNCM): • One of the project volunteers was recruited through the RNCM and participated in the weekly gamelan

sessions as an accredited part of her undergraduate course in music performance.

• Kate Buchanan (Head of Creative and Professional Practice, RNCM) also visited the project as part of

plans to send additional music students to the Seashell Trust on volunteer placements.

University of Manchester: • Another project volunteer was recruited through the music department at the University of Manchester.

Understanding Arts: • Matthew Laurie, Director of Sheffield-based charity Understanding Arts, presented his work developing

the use of music in intensive interaction at the culmination symposium on 30th October 2015.

Peter Annear: • (Former audiologist at Seashell Trust) presented his work on gamelan and audiology at

the culmination symposium on 30th October 2015 and conducted Listening Skills training for the

newly appointed Musicians-in-Residence Rachael Moat and Ann Durnford with Audiologist,

Jane Douglas on 31/03/16.

21


References included in this report and case studies

CCEA (2007). Quest for Learning. Guidance and Assessment Materials; Profound and Multiple

Learning Disabilities. Northern Ireland Curriculum.

Csikszentmihalyi, M. (2002). Flow: The Psychology of Happiness. London: Rider.

Custodero, L. (2005) Observable Indicators of Flow Experience: a Developmental Perspective on Musical

Engagement in Young Children from Infancy to School Age. Music Education Research 7(2), pp.185-209

Firth, G. & Barber. M. (2011). A Framework for Recognising Attainment in Intensive Interaction.

Leeds Partnership NHS Foundation Trust.

Law, M., Baptiste, S., McColl, M., Opzoomer, A., Polatajko, H., Pollock, N. (1990).The Canadian

Occupational Performance Measure: An Outcome Measure for Occupational Therapy. Canadian

Journal of Occupational Therapy 57(2), pp.82-87.

Mailloux, Z., May-Benson, T., Summers, C., Miller, L.J., Brett-Green, B., et al. (2007).Goal Attainment

Scaling as a Measure of Meaningful Outcomes for Children with Sensory Integration Disorders.

The American Journal of Occupational Therapy 61(2), pp.254-259.

Nind, M. & Hewett, D. (1994). Access to Communication. Developing the Basics of Communication with

People with Severe Learning Difficulties through Intensive Interaction. London: David Fulton.

Ockelford, A. & Welch, G. (2012). Mapping Musical Development in Learners with the most Complex

Needs: the Sounds of Intent Project. Oxford Handbook of Music Education Vol. 2. Oxford: Oxford

University Press.

Ryan R. & Deci E. (2001)..On Happiness and Human Potentials: A Review of Research on Hedonic and

Eudaimonic Well-Being. Annual Review of Psychology 52(1), pp.141-166.

Wenger, E., McDermott, R., & Snyder, W.M. (2002). Cultivating Communities of Practice: A Guide to

Managing Knowledge. Boston: Harvard Business School Press.

22

Seashell Trust's gamelan project is supported by Youth Music and public funding from the National Lottery through Arts Council England.

Youth Music believes every child should be given the chance to make music. Please visit www.youthmusic.org.uk

Seashell Trust ‘Common Pulse’ Gamelan Project team wishes to acknowledge the help, advice and

support given by various members of the Youth Music Grants and Learning Team, namely:

Tom Thornton, Grants and Learning Officer until December 2015

Daniel Williams, Interim Grants and Learning contact December 2015 – February 2016

Flora Ward, Grants and Learning Officer from February 2016

project - network.youthmusic.org.uk trust... · • at project outset some support staff members...

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