Taking an Outcomes Approach: Evidencing the changes your project brings about 1. What is the purpose of this document?1 This document outlines the key principles of an outcomes based approach to project evaluation. It aims to provide information for Youth Music’s funded partners that will be of use when thinking about how you evidence what changes your work brings about. While the focus is on outcomes, the activities and resources that influence these outcomes should also be critically considered. This is the only way that we will be able to learn from what works well or not so well in our funded projects, and be able to share those lessons with others working in the sector. This document however is about outcomes and what we consider a useful approach to being able to capture them. Our approach is based on that of the Charities Evaluation Services (CES)2. We would recommend that you consult their website for further information on their approach to evaluation (www.ces-vol.org.uk). You may also be interested in their training programme. In writing this document we have also drawn on the Big Lottery Fund’s outcomes approach, as laid out in their 2006 guidance document3 (which is also based on that of the CES). We would encourage partners to consult this more detailed report. We consider this to be a working document that will be added to over time as we and our partners develop more ways of working effectively with this approach. 2. What does the document cover? There are eight more sections in this document: 3. 4. 5. 6. 7. 8.
Why monitor and evaluate your work? What are outcomes? Youth Music as an outcomes funder Taking an outcomes approach Outcome indicators Collecting information on outcomes
This document does not address the critical topics of codes of practice and ethical guidelines to follow when carrying out research. As a start, you may want to consult the United Kingdom Evaluation services guidelines http://www.evaluation.org.uk/resources/guidelines.aspx on these topics. 2 For the purpose of this document we have in particular drawn on Practical Monitoring and Evaluation: A guide for voluntary organsiations, (CES 2005) 3 Burns, S. & MacKeith (October 2006) Explaining the Difference your Project Makes: A BIG guide to using an outcomes approach 1
9. Making sense of the information 10. Developing this document and related resources Throughout the document we use an example project ‘Making Sounds’ to illustrate the principles we are discussing. This is not a real Youth Music project and the examples should be taken as illustrative rather than definitive samples of ‘best practice’. 3. Why monitor and evaluate your work? Before we move on to talk about outcomes specifically, we thought it would be useful to explain why Youth Music considers evaluation to be a core component of our and our partners’ work. Effective evaluation helps you to assess how well you are doing and be more effective in your practices. Obviously delivering projects is everyone’s priority, but it is critical that you allocate resources to evaluate your work. It will enable you to: reflect on your practice (both during and after a project) and improve the quality of projects you deliver assess whether you are reaching your target participants or whether you need to amend the project to do so feel more confident that you are delivering an effective project identify both intended and unintended outcomes of your work make a strong case when making future funding applications, by having evidence of your achievements and lessons learnt. In addition, by submitting the evidence to Youth Music this will help us to: develop a body of evidence of effective practice in the sector to be made available to all stakeholders advocate on behalf of the sector on the wide variety of outcomes music-making projects can achieve identify areas of need, where achieving outcomes may be more challenging and require innovation or extra resources evidence the impact of the work of Youth Music and its funded partners. 4. What are outcomes? Outcomes are the changes, benefits, learning and other effects that you can attribute to your project’s activities- they’re the difference your project makes (CES, 2005, p.53). While these will probably focus on the children and young people taking part in your music-making project, they may also relate to a parent or carer, your staff or your organisation as a whole (see examples in section 6.2 below). 5. Youth Music as an outcomes funder Youth Music is clear about the changes we want to bring about through our activities and those of the partners we fund. If you have applied to Youth Music for funding under a particular programme then it should be clear what that programme is trying to achieve. You will be expected to be able to relate at least some of the intended outcomes of your project to those of the programme. As part of the conditions of funding you will be expected to report to us on your progress toward achieving those outcomes. 2
6. Taking an outcomes approach When taking an outcomes approach to your project design it is helpful to think about it on three levels (see Diagram 1 below): 1. Its overall aim 2. Its intended outcomes 3. Its activities Diagram 1: Charities Evaluation Services Planning Triangle (adapted by Burns & MacKeith, 2006 on behalf of BIG4)
The overall aim of your project
Overall Aim
The differences you intend to make or the changes you aim to bring about – for your participants, staff, organisation, community etc
The main services and activities you plan to carry out – what your project will deliver and what those working on your project will actually do
Intended Outcomes Activities and Outputs
6.1. The overall aim of your project What is your project setting out to do? What is the overall change or difference you want it to make? Fundamentally this explains why your project exists. Making Sounds5 - Overall aim Project description A project for young people in contact with a Youth Offending Team (YOT) in London. This is a 12 month project where young people will learn a vocal based skill- singing or beatboxing. They will attend workshops and will be linked to a peer mentor from a local youth arts club, who will also attend the workshops. Overall Aim To improve the life chances of young people in contact with a London-based YOT, through music-making activity.
Burns, S. & MacKeith (October 2006) Explaining the Difference your Project Makes: A BIG guide to using an outcomes approach, p.8 5 Please note: This is NOT an actual project and does not necessarily reflect a project design that Youth Music would/has funded. 4
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6.2. The intended outcomes of your project Your intended outcomes are the changes that you are aiming to achieve because of your project (i.e. what do you expect to change through your project? What difference will it make, for example, for the young people taking part?). The language you use to articulate these should involve words that reflect change, for example to: ‘increase’, ‘reduce’, ‘expand’, ‘enable’ ‘develop’, ‘improve’, etc. (CES, p18). Your intended outcomes should be linked to the activities you will do (i.e. why are you doing the stated activities? What do you hope to achieve through delivering them?) The changes that result from your activities are your outcomes. They should also be specific, measurable, achievable, realistic and timely (SMART). Think about the time and resources you have available and the type of activities you are providing, this will help you to devise outcomes (and relevant indicators, see 7 below) that are SMART. They must relate closely to the activities (specific), be counted or described thoroughly (measurable), and be achievable and realistic within the time and resources dedicated to the activities. Making Sounds4- Intended Outcomes By the end of the 12 month project: To have increased the musical skills of participants. To have improved participants’ knowledge of music-making opportunities in their locality. To have improved young people’s social and psychological well-being. To have increased young people’s motivation to engage in education and training. To have developed a more positive attitude to young people’s music-making among parents/carers. To have increased the skills and knowledge of the music leaders in working with young people in contact with a YOT.
6.3. The activities involved What are you going to do that will bring about these changes? As mentioned above, these are the activities you are going to deliver through your project. While you use ‘change’ language for your outcomes (e.g. an increase in musical ability), you should use ‘doing’ words for your activities (e.g. by providing 12 workshops). You may find it helpful to think about these within the CES Planning Triangle structure (see diagram 1 for an adapted version of this). This allows you to think about each level and how they relate to each other. Will the overall aim of your project be met through achieving the intended outcomes? Will the activities you have planned realistically enable you to bring about the changes outlined in your intended outcomes? While some activities will help deliver on more than one outcome, it is critical that each activity is linked to at least one outcome, and that each outcome has at least one activity that will ensure your project delivers on it.
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Making Sounds4- Activities To run weekly workshops for participants during school term time. To employ a skilled music leader to deliver high quality music-making activities. To provide pastoral care to young people over the course of the project, with the support of youth workers from a local arts centre. To provide an information pack to young people and follow up with 1:1 sessions with the music leader on progression routes and further local opportunities for music making. To hold 2 performances to which parents/carers will be invited and to send them an information pack every three months about the project and key achievements of the group. To hold regular meetings between relevant YOT staff, the music leader and youth workers to discuss the project’s progress and any issues arising.
Once you have looked at your project within this structure you should ask yourself the following questions developed by BIG for their partners: “When you have filled in a triangle, check the following: Have you used words of change in the top and middle and doing words in the bottom of the triangle? Does the middle of the triangle describe what the changes you intend for your project’s participants, their parents/carers, your staff etc? Does the bottom of the triangle describe what those working on your project are going to do? Now you can look at the triangle as a whole to check that the plans for your project are realistic: Look at each of your intended outcomes in the middle level. Will the activities you have listed at the bottom realistically help you to achieve one or more of your intended outcomes? Now look at the activities. Does each one link directly to one or more of the intended outcomes? If not, why is the activity included? You may want to consider whether the activity really is important. It may well be that the activity will help you to achieve another change. If this is the case you may want to include another outcome. It may help to do this if you number the outcomes and put the number(s) against each activity.” From Burns & Mac Keith, 2006 (p. 10) 7. Outcome indicators Once you have decided on your intended outcomes you will need to identify the indicators you will use to evidence your progress in achieving these outcomes. What would you see, hear, or read about project participants that would show you had made progress toward your outcome? What would participants be doing differently? So, before your project starts you will need to decide what information you want to collect to evidence you progress to achieving your outcomes (outcome indicators) and how to collect the information needed. As with setting your outcomes, it is important that you’re realistic about the number of indicators you set out to monitor and what kind of information you will be able to collect (see section 8 below). 5
Making Sounds4- Outcome Indicators Outcomes Increased musical skills
Possible outcome indicators Young people’s own assessment of musical skills Music leader’s rating of young people’s musical skills
Improved knowledge of musicmaking opportunities in the locality
Improved young people’s social and psychological well-being
Increased motivation to engage in education and training
A more positive attitude to young people’s music-making among parents/carers
Level of understanding of own strengths and weaknesses Whether participants can think of several ways of finding out about different local musicmaking opportunities. Whether participants feel: able to express themselves in front of others able to make decisions that they feel are good for them listened to by other people like what they say and do will make a difference to their lives and that they have: been able to turn up to the workshops on time learned to work well with other people Level of perceived motivation to engage in education/training Attendance levels at education/training Level of parent/carer attendance at performances Parents/carers views on the value of music making for their young people and young people more generally
Increased skills and knowledge of the music leader in working with young people in contact with a YOT
Whether music leader feels well-equipped to meet the needs of young people in contact with a YOT Whether music leader can identify a range of sources of support upon which he/she can draw to be able to effectively deliver the programme of work with this group of young people.
Some of the outcomes you set out to achieve may be difficult to measure and count. CES (2005, p 23) give the example of the outcome ‘to change young people’s attitudes about social issues’, which cannot be measured easily, so you would need to use indicators that assess the change approximately (proxies). They suggest that using time keeping and attendance levels, alongside other evidence may be an indication of ‘an 6
increased sense of commitment and responsibility’, which relates to the intended outcome. 8. Collecting information on outcomes As mentioned in 7 above, before starting your project you will need to think about how you will collect the information needed to demonstrate the progress you have made in achieving your outcomes. Maybe you already collect certain kinds of information as part of your monitoring systems that you could use? Maybe you could tweak the monitoring system you already use by rewording or adding questions? However, you may find that you need to find a new way of collecting the information. If you are looking at change you will need to think about collecting information at two points in time (at/towards the start and at the end of the project). It is beyond the scope of this document to provide a detailed account of tools/methods that you may want to use, as these will vary from project to project and will depend on the outcomes chosen6. For example, information on the outcomes for young people could include: Observation of their level of engagement/skills Self-assessment questionnaires Diaries they keep as part of the project Notes kept by project leads Interviews Focus groups Samples of work Creative methods: role play, singing and rhyming, games etc YM Outcomes Tools (See Appendix A) As with all elements of this process it is important that you are realistic about what data collection you can do within the given resources. Making Sounds4- Sources of Evidence for ‘increased music skills outcome’ Outcome indicator Young people’s own assessment of musical skills
Source of Evidence
Music leader’s rating of young people’s musical skills
Music leader completes a log at the end of each workshop, noting progress made by each participant.
Youth Music ‘Musical Development’ Scale
9. Making sense of the information The way you make sense of the data you collect on your outcomes will depend on the kind of information you have collected and the way in which you have collected it. For example, you will need to use a different approach to analysing numbers to that adopted if you have done interviews with young people. As with the tools for collecting data, it is beyond the scope of this document to provide an in-depth account of how to analyse the data you collect6. Practical Monitoring and Evaluation: A guide for voluntary organsiations, (CES 2005) provide some examples of data collection tools and some initial guidance on data analysis. 6
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Making Sounds4- Making sense of the information for ‘increased music skills’ outcome* Young people varied in the extent to which they felt their musical skills had increased over the course of the project. On average, participants reported a 4 point increase (on an 8 point scale) in how they rated their musical skills. None of the participants reported a decrease in their skills. Four felt they had only improved by 1 point. However, the music leader’s observations noted in the session log show that three of these participants had initially ranked themselves toward the top end of the scale. Once they began to learn more about their chosen vocal skill their self-awareness had improved and they realised that they had more to learn to be ‘top of their game’. For the other participant in this group of four, both he and the music leader felt his musical skills had improved little over the course of the project. *This example only deals with reporting on the actual outcome and does not take account of the activities and resources that influence these outcomes, which should also be critically considered.
10. Developing this document and related resources Data collection tools If you have developed any tools (such as questionnaires for young people) to collect information on the outcomes of your project, and would be happy to share them with others working in the area we would greatly appreciate it if you could send them through to us. We would like to develop a repository of tools that could be accessed by funded partners. Let us know what you think As mentioned in section 1, we consider this to be a working document and would greatly appreciate your feedback on how we can improve it. We also plan to develop it further by drawing on examples from our partners’ work in this area. Please forward any comments to research@youthmusic.org.uk Other useful sources: http://www.biglotteryfund.org.uk/er_eval_explaining_the_difference.pdf Big Lottery Fund- Explaining the difference your project makes: A BIG guide to using an outcomes approach http://www.biglotteryfund.org.uk/er_eval_self_evaluation_uk.pdf Big Lottery Fund- Self Evaluation: A handy guide to sources www.ces-vol.org.uk Charities Evaluation Services http://www.evaluation.org.uk United Kingdom Evaluation Society
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APPENDIX A - Youth Music Outcomes Tools 1. Youth Music Outcomes Tools These tools have been designed to demonstrate the outcomes of your work with children and young people. They indicate whether changes have occurred in musical ability, personal development and social development. These tools provide a quantitative method of capturing outcomes, but you should be using many methods – e.g. talking to the children and young people on your projects and recording what they have to say, keeping a reflective diary of how the activities you engage in affect the organisation and it’s work, and keeping track of changes and developments using film, photos and other creative methods. The numbers you collect using these tools can tell us if outcomes have been achieved as a result of a project, but many other evaluation methods are better at telling us how this has happened and will help tell the story of a project and what we can all learn from it. 2. What tools have been provided? Each scale is attached to a different type of outcome. It’s likely that one of your intended outcomes will be an improvement in musical ability, therefore you should use the Musical Development Scale (for children and young people aged 11-18), or the Young Musicians Development Scale (for children aged 6-10). These scales are based on work done by the Institute of Education investigating musical ability. If you are running an Early Years project, you can use the Early Years Musical Assessment Scales (there are separate ones for children aged 0-2, 2-3, and 3-5), which should be completed by an early years practitioner, a music leader, or a parent (depending on how the project is being delivered). These scales are based on work done by Nancy Evans for Youth Music and Sue Young at the University of Exeter. There are more scales designed for use with the 11-18 age group, these are:
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The Youth Music Agency and Citizenship Scale – measuring how much children and young people feel in control of their lives, are able to make decisions, and feel connected to their communities. The Youth Music Attitude and Behaviour Scale – measuring whether children and young people feel they have developed skills such as working with others, punctuality and commitment. The Youth Music Wellbeing Scale – based on work done by the University of Edinburgh and the University of Warwick, these measures demonstrate how children and young people have been recently feeling. There is also a ladder measure (‘Cantrill’s Ladder’) used to capture overall wellbeing. There are two more scales, designed to capture the reflections of the music leaders involved in the project: The Music Leader Job Satisfaction Scale, and the Music Leader Professional Practice Scale. These can be used to assess how those employed to deliver your projects feel about their work, and if they are committed to the Music Leader code of practice. 3. Using the tools Each tool that you want to use for your project should be put into a questionnaire and completed by participants near the beginning and near the end of the project. The Early Years tools should be completed by a regular attendee at the sessions (e.g. a practitioner, music leader or parent) at the beginning and the end (ideally the same person will fill it out at the beginning and end). The Music Leader tools should be completed by the music leaders and trainees involved in the project at the beginning and the end. If you want to demonstrate change that has happened because of your project, it is important that you record the responses near the beginning and near the end so you can calculate the difference. Using the templates below, cut and paste the appropriate scales that match your outcomes into a questionnaire (e.g. if you are hoping to improve musical ability and wellbeing, cut and paste these scales into a questionnaire, if you are hoping to improve musical ability, wellbeing and attitude and behaviour, use these scales). It is important to use the same ID number on the questionnaire so you can match the responses at the beginning and end of the project. Ask the participants to complete the questionnaire, or spend some time filling it out with them as necessary. Then store the questionnaires somewhere secure before putting the results into the Excel spreadsheet (provided separately). 10
All the questions are on ‘likert scales’ scored from 5 (strongly agree) to 1 (strongly disagree) which makes it easy to store the numbers and calculate ‘mean scores’ (averages) for your sample overall. Each scale has five questions, so the maximum a person can score on each scale is 25 (35 for the scales that also have a ladder question) and the minimum on each scale is 5 (or 6 for the ladder scales). The total number of questions you will ask depends on how many scales you use (which is decided by what outcomes you are looking to measure). When putting your questionnaire data into Excel, store the ID number in the first row, enter the date of the first survey, and the date of the follow up survey (you can put all the data in at once at the end, or put it in when you get it and enter the follow up data at a later stage - the latter is recommended). The next step is to put the individual score for each question in each of the associated columns. There is also a total score column which will tell you about each scale as a whole (e.g. how have people’s musical ability overall changed). You can work out ‘where people are’ on each scale by looking at the ‘baseline scores’ (how they scored early on in the project) - this might be a useful way of know what elements you want to focus on in delivery (e.g. if all your participants are scoring low on the ’opportunities in your area’ ladder question, you could encourage music leaders to focus on this in discussions with participants). Question Means The next step is to figure out mean (average) scores for each question. Add up all the scores in a column under a particular question and divide the total by the number of responses you have, this tells you where your participants are overall in relation to each question. Example – The first question on the musical development scale tells us how participants feel about their musical ability. ‘Dougie’ rated himself 2 at the beginning, so we can work with Dougie to try and improve his score by the end. There are 24 other people on the project. By adding up Dougie’s score with everyone else’s and dividing it by 25, the overall score for question 1 (self rated musical ability) is 2.4 at the start of the project. By repeating the same task at the end you can observe change (indicating musical ability). Scale Means Do the same thing for your ‘total score’ column and this will tell you where your participants are for each scale overall. Example - For the musical development scale, you might find that, overall, your participants are scoring around 9 or 10 at baseline (Scale Mean), but after 10 sessions, when you collect the follow up data, the average score is 13 or 14 (don’t be scared of decimals - they just tell you whether it’s closer to 13 or 14!). This is a really interesting finding - it seems that there is some clear development in overall musical ability as 11
a result of your project. This might not happen, but by looking at question means you will see whether there have been changes in some respects but not others. N.B. The scores won’t always go up. Maybe the participants were overestimating their musical ability in the beginning, and the project has made them realise that they don’t think they have much ability overall compared to others or the music leaders. This is completely fine and to be expected. When presenting the results of your surveys you can discuss this as one of the explanations - you’ll probably also have lots of juicy qualitative data that will help to explain the findings anyway. The point to remember is that this is a research exercise and there will be results you didn’t expect. If you subtract the baseline scores from the final scores, you will see the difference (this could be + or -), which is a good way to finish the analysis (e.g. overall musical ability for the group increased by 3 points). Again you can present this at a question level or scale level as appropriate. 4. Presenting your findings Once you have calculated your scores it is important to communicate this effectively. You can put baseline and follow up scores in a table, along with the difference, presenting your findings for each question and for each scale overall. You could also put your findings into a bar or line chart which is a useful way of showing any change. Remember to also write a few lines on what you are presenting. Statistics never speak for themselves and you should be very open and clear about how you have interpreted them. It’s also very important not to overclaim. Remember that these are indicators of outcomes, not concrete evidence. You will be presenting these findings alongside all sorts of other evidence and trying to make sense of it all together. It’s also tricky to make huge claims about change (and the extent to which your project is responsible for that change) when you might have a very small sample or the way you are delivering changes throughout the project. These are interesting and useful tools for measuring and investigating outcomes – they are not a ‘magic bullet’. Your own analysis can go into the final reports you send to Youth Music and other funders and help you to show the effects of your project to others. Unfortunately Youth Music will not have capacity to conduct analysis for individual projects, but it will contribute hugely to our analysis of projects at a national level. If you send your Excel spreadsheets to Youth Music, we can see how the findings compare nationally and if there are differences between types of project, age, gender, and so on, which will help us to understand the effects of our funding and potentially demonstrate the impact of projects at a 12
national level. 5. Ethics and Consent You will have your own consent systems, which you should adapt to let the young people (16+) or the child and parent/carer (0-15) know that you will be doing some evaluation of the project that will involve a short questionnaire. You need something signed and recorded that this is ok. Everyone also has the right to refuse to participate in the evaluation process at any point and you must destroy all data relating to that person. People are always more important than data. You should keep the consent forms, but ensure that no identifying data is stored on questionnaires by using ID numbers. It is important that you assign an ID number to each person and keep a record so you can match up baseline and follow up data. You also have to take responsibility for the secure storage of information. Under no circumstances should a third party be able to identify which data corresponds to which person (a good tip is to always store your ID system, matching names and numbers, separate from your excel data sheet). The same is true for paper questionnaires; always treat in confidence and store securely. None of the scales below are asking about particularly sensitive information, therefore it is unlikely that people will feel upset or harmed in any way by participating. However, taking part in any research exercise can be a reflective process and you should be equipped to support the children and young people if they are at all troubled by the process. This is especially true when working with vulnerable children and young people. Make it clear that everyone is free to stop participating at any point, and be prepared to signpost young people to appropriate services if you cannot deal with any issues raised. Again, this is unlikely to happen as a result of the questionnaire exercise, but should be remembered in all evaluation procedures. Further ethical guidelines are provided by the Social Research Association and can be accessed here: http://www.thesra.org.uk/documents/pdfs/ethics03.pdf
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Youth Music Musical Development Scale Please rate how far you agree with the following statements: 1. I am pleased with my current level of musical ability 5 Strongly Agree
4
3 2 Neither Agree nor Disagree
1 Strongly Disagree
2. I am good at making sense of what other people are expressing through music (e.g. thoughts, feelings and emotions) 5 Strongly Agree
4
3 2 Neither Agree nor Disagree
1 Strongly Disagree
3. I can express my thoughts, feelings and emotions through my own music making 5 Strongly Agree
4
3 2 Neither Agree nor Disagree
1 Strongly Disagree
4. I am committed to my own music making 5 Strongly Agree
4
3 2 Neither Agree nor Disagree
1 Strongly Disagree
5. I feel like music making allows me to be creative 5 Strongly Agree
4
3 2 Neither Agree nor Disagree
1 Strongly Disagree
Please turn over
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6. Here is a picture of a ladder, the top of the ladder means you know lots of places to make music in the community in which you live, and the bottom of the ladder means you don’t know anywhere to make music in your community. Please mark on the ladder how much you know about opportunities to make music in your community:
Lots
Nothing
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Youth Music Agency and Citizenship Scale Please rate how far you agree with the following statements: 1.
I feel listened to by the people around me 5 Strongly Agree
4
3 2 Neither Agree nor Disagree
1 Strongly Disagree
2. I make decisions that are good for me 5 Strongly Agree
4
3 2 Neither Agree nor Disagree
1 Strongly Disagree
3. I feel like what I say and do will make a difference to my life 5 Strongly Agree
4
3 2 Neither Agree nor Disagree
1 Strongly Disagree
4. I feel well connected to others in my community 5 Strongly Agree
4
3 2 Neither Agree nor Disagree
1 Strongly Disagree
5. If I needed help I would know where to get it 5 Strongly Agree
4
3 2 Neither Agree nor Disagree
1 Strongly Disagree
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Youth Music Attitude and Behaviour Scale Please rate how far you agree with the following statements: 1. I work well with other people 5 Strongly Agree
4
3 2 Neither Agree nor Disagree
1 Strongly Disagree
2. I usually turn up to things on time 5 Strongly Agree
4
3 2 Neither Agree nor Disagree
1 Strongly Disagree
3. I am respectful of other people 5 Strongly Agree
4
3 2 Neither Agree nor Disagree
1 Strongly Disagree
4. I make a positive contribution to my community 5 Strongly Agree
4
3 2 Neither Agree nor Disagree
1 Strongly Disagree
5. I am good at committing to things 5 Strongly Agree
4
3 2 Neither Agree nor Disagree
1 Strongly Disagree
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Youth Music Wellbeing Scale (Based on WEMWBS 2009) Please rate how much you agree with the following statements: In the last month... 1. I’ve been feeling relaxed 5 Strongly Agree
4
3 2 Neither Agree nor Disagree
1 Strongly Disagree
2. I’ve been feeling confident 5 Strongly Agree
4
3 2 Neither Agree nor Disagree
1 Strongly Disagree
3. I’ve been interested in new things 5 Strongly Agree
4
3 2 Neither Agree nor Disagree
1 Strongly Disagree
3 2 Neither Agree nor Disagree
1 Strongly Disagree
4. I’ve had lots of energy 5 Strongly Agree
4
5. I’ve been feeling good about myself 5 Strongly Agree
4
3 2 Neither Agree nor Disagree
1 Strongly Disagree
Please turn over
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6. Think about this ladder as picturing your life at the moment. The top of the ladder represents the best possible life for you, the bottom of the ladder represents the worst possible life for you. Put a mark on the ladder for where you think you stand at the moment.
Best Possible Life
Worst Possible Life
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Music Leader Job Satisfaction Scale (Based on Illardi et al. (1993) Motivation and Job Satisfaction Scale) Please rate how far you agree with the following statements in relation to your work on this project: 1. I feel I have a lot of input into how my work is done 5 Strongly Agree
4
3 2 Neither Agree nor Disagree
1 Strongly Disagree
2. I am free to express my ideas and opinions about the work I do 5 Strongly Agree
4
3 2 Neither Agree nor Disagree
1 Strongly Disagree
3. I have been able to learn useful new skills on my job 5 Strongly Agree
4
3 2 Neither Agree nor Disagree
1 Strongly Disagree
4. I have developed, musically, doing this job 5 Strongly Agree
4
3 2 Neither Agree nor Disagree
1 Strongly Disagree
5. I get a sense of accomplishment from my job 5 Strongly Agree
4
3 2 Neither Agree nor Disagree
1 Strongly Disagree
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Music Leader Professional Practice Scale (Based on Music Leader Code of Practice) Please rate how far you agree with the following statements in relation to your work on this project: 1. I am well prepared and organised for my music leading work 5 Strongly Agree
4
3 2 Neither Agree nor Disagree
1 Strongly Disagree
2. I have a strong sense of responsibility for the safety of myself and the children and young people I work with 5 Strongly Agree
4
3 2 Neither Agree nor Disagree
1 Strongly Disagree
3. My music skills are relevant and up to date for the work I am doing 5 Strongly Agree
4
3 2 Neither Agree nor Disagree
1 Strongly Disagree
4. I regularly reflect on and evaluate my work 5 Strongly Agree
4
3 2 Neither Agree nor Disagree
1 Strongly Disagree
5. I am committed to my own continuing professional development 5 Strongly Agree
4
3 2 Neither Agree nor Disagree
1 Strongly Disagree
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Early Years Musical Assessment Scale Based on Tuning In to Children (Evans/Youth Music 2007) and Young (2003), for completion by early years practitioners, music leaders or parents: Children aged 0-2 Please mark on the scale the extent to which your young musician‌ 1. Is moved or affected by music (e.g. soothed and settled by lullabies) 5 Strongly Agree
4
3 2 Neither Agree nor Disagree
1 Strongly Disagree
2. Enjoys being physically moved to rhythms and beats 5 Strongly Agree
4
3 2 Neither Agree nor Disagree
1 Strongly Disagree
3. Listens intently to sounds and music 5 Strongly Agree
4
3 2 Neither Agree nor Disagree
1 Strongly Disagree
4. Shakes, taps, lifts and drops objects to explore the sounds they make 5 Strongly Agree
4
3 2 Neither Agree nor Disagree
1 Strongly Disagree
5. Explores their voices with single syllable sounds (or more) 5 Strongly Agree
4
3 2 Neither Agree nor Disagree
1 Strongly Disagree
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Children aged 2-3 Please mark on the scale the extent to which your young musician‌ 1. Participates in play songs and songs sung to them 5 Strongly Agree
4
3 2 Neither Agree nor Disagree
1 Strongly Disagree
2. Starts to learn songs and can reproduce or improve on them 5 Strongly Agree
4
3 2 Neither Agree nor Disagree
1 Strongly Disagree
3. Develops rhythmic, large body movements and begin to learn control and coordination 5 Strongly Agree
4
3 2 Neither Agree nor Disagree
1 Strongly Disagree
4. Shows responses to music being performed, from intent listening to energetic dancing 5 Strongly Agree
4
3 2 Neither Agree nor Disagree
1 Strongly Disagree
5. Imitates the musical action of others 5 Strongly Agree
4
3 2 Neither Agree nor Disagree
1 Strongly Disagree
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Children aged 3-5 Please mark on the scale the extent to which your young musician‌ 1. Sings spontaneously in a range of different ways, alone and with others 5 Strongly Agree
4
3 2 Neither Agree nor Disagree
1 Strongly Disagree
2. Begins to match pitch, keep in time, and coordinate their musical ideas with others 5 Strongly Agree
4
3 2 Neither Agree nor Disagree
1 Strongly Disagree
3. Repeats, changes, and develops their own, or borrowed, musical ideas into more complicated structures 5 Strongly Agree
4
3 2 Neither Agree nor Disagree
1 Strongly Disagree
4. Learned to control and coordinate their whole body and finer body movements, increasing their range of dances and instruments 5 Strongly Agree
4
3 2 Neither Agree nor Disagree
1 Strongly Disagree
5. Can be an audience listener to live music for short periods of time 5 Strongly Agree
4
3 2 Neither Agree nor Disagree
1 Strongly Disagree
24
Young Musicians Development Scale (for children aged 6-10) Please circle the face that is closest to how you feel about the following questions‌ 1. How much do you like doing music?
Very much
Not very much
2. How good at music do you think you are?
Very good
Not very good
3. How much does making music make you feel happy or not so happy?
Very happy
Not happy at all
4. How much do you enjoy learning new things with music?
Very much
Not very much
5. How much do enjoy making music with your friends and other people?
Very much
Not very much
25