# data[].attributes.body
INDUSTRY STANDARDS & BEST PRACTICES

Timeline - Project (L01)

Timeline - Extended (L01)

Best Practice (L01)

Development Opportunity

Legal Responsibilities (L01)

Ethical Challenges (L01)

Brand Identify (L07)

Minute of Music #4 (L03)

Practice Songwriting (L03)

Practice Drums (L03)

# data[].attributes.body
CAREER PLANNING & GOAL SETTING

Minute of Music Goal (L03)

Minute of Music #1 (L03)

Short term Goals

GANNT Chart (L01)

Post-Grad Planner (L01)

Potential Challenges

Track Analysis (L03)

Practice Diary (L03)

Emotion & Music Research

# data[].attributes.body
MA SONGWRITING RESIDENTIAL

Project Proposal FORMATIVE

Songwriting Evidence (L03)

Writing to Brief #1 - Artist (L03)

Writing to Brief #2 - Euro (L03)

Free Writing Collaboration (L03)

Split Sheets (L01)

Practice Diary (L03)

Reflection on Project

Minute of Music (L03)

# data[].attributes.body
HOW TO CREATE YOUR BRAND

Developing my #FMP

Brand Ideas Mood Board (L07)

Minute of Music #3 (L03)

Competitor Analysis (L03)

Sync Artist Research (L03)

Artist Persona (L07)

Vision

Emotion & Music Research

Practice Drums (L03)

# data[].attributes.body
NETWORKING & RELATIONSHIP BUILDING

Networking Strategy (L01)

Networking Contacts (L01)

Networking Research (L01)

Gibbs Self-Reflection

Social Media Research (L01)

Instagram (L07)

Substack (L07)

Case Study Research (L01)

Practice Diary (L03)

# data[].attributes.body
INTRODUCTION PROFESSIONAL IDENTITY

Self-Reflection on Level 5

SWOT Analysis (L01)

Mind-Map for Final Project

SMART Targets (L01)

Initial Research Notes

Development Opportunity (L01)

Practice Diary

# data[].attributes.body
DIGITAL LITERACY & INDUSTRY TOOLS

Industry Tools (L01)

More Digital Tools (L01)

Track Analysis Research (L03)

Timeline & Plan Update (L01)

Minute of Music (L03)

Practice Diary (L03)

Practice Evidence (L03)

Reflection

# data[].attributes.body
FINANCIAL LITERACY & BUDGETING

Project Budget (L01, L03, L07)

Communication Evidence (L07)

Web & Library Research (L01)

Practice Diary (L03)

Minute of Music (L03)

Website Plan (L01, L07)

Website Mock Up (L07)

# data[].attributes.body
LEGAL & ORGANISATIONAL KNOWLEDGE

Legal Considerations (L01)

Split Agreements (L01)

PRS Membership (L01)

Risk Assessment (L01)

Writing for Sync Research (L01, L03)

Song & Pitch Tracker (L01)

Sync Licence Agreement (L01)

Minute of Music Evidence (L03)

# data[].attributes.body
PLANNING REVIEW REFINEMENT

Project Update (L01, L03, L07)

Minute of Music (L03)

Track Focus Group (L03, L07)

Focus Group Results (L03)

Timeline Update (L01, L03)

FMP Lyrics (L03, L07)

Instagram Evidence (L07)

Final Plan (L01, L03, L07)

# data[].attributes.body
I have set myself the goal to create a minimum of a minute of new music each week.

My justification for this is:

Focus on speed from creation to production to support sync and co-writing skills

Support my SMART Targets

Have a selection of tracks to potentially develop for my FMP

# data[].attributes.body
DEVELOPING TRANSFERABLE SKILLS

Transferable Skills

Skills Gap (L01)

Personal Development Plan (L01, L03)

Minute of Music #2 (L03)

Emotion & Chords Research

Skills Self Reflection

Practice Plan (L03)

Practice Diary (L03)

# data[].attributes.body
Challenge/Prompt: Quickly and accurately record piano performance and then spend time in DAW cleaning up and focusing on vocal production

I wrote, recorded & produced this in a week having started the lyrics and a melody in Owen's Songwriting Spark.

What I did:

5 days to finish writing piano arrangement and lyrics, record, treat vocals & produce

Experimenting with tightening timing of piano & double tracks

Learning to use with Melodyne to timing and pitch

Artificial harmonies using pitched up vocals

Echoboy and experimenting with echo, reverb and delay throws from vocal snippets

Piano EQ ProQ

# data[].attributes.attachment_link.title
123 3-4 FSharpMinor - Messy Road - MoM.mp3

# data[].attributes.body
I had a 1-1 with Stu to discuss my ideas, research and plan for my FMP & plan to develop a Portfolio of music that showcases me both as a songwriter for artists and sync placement.

# data[].attributes.body
• Research and Idea Generation: Research the skills, contacts, knowledge I need to effectively write emotional music with a view to sync placement or songwriting for others.
• Skill Development: See Skills Gaps and PDP
• Networking: Begin building a network of contacts and find support collaborators and connections in the sync and songwriting industry
• Portfolio Planning: Outline and develop my project plan for my Final Major Project and build my initial Gannt charts and productivity tools. Start collating resources for referencing and research

See 2.3 Gannt Chart & 2.4 Post-Grad Planner

# data[].attributes.attachment_caption
Starting GANNT Chart and Project Planning using ClickUp

# data[].attributes.attachment_caption
Updated GANNT Chart reflecting #FMP changes and further planning

# data[].attributes.body
The next steps for my FMP project are:

1. Record, Produce and Rough Mix the selected 5 tracks

2. Collaborate and record the other artists

3. Collaborate for Mixing & Mastering

4. Create Portfolio Website

5. Complete and Implement Strategic Network Plan

# data[].attributes.body
Still quite vague but beginning to identify a longer term strategy as my project and research develops.

# data[].attributes.body
To create a portfolio of music to showcase my songwriting and collaboration skills that I can subsequently use to pitch for indie sync-songwriter placement and opportunities to write for performing artists.

# data[].attributes.body
OBJECTIVE: To build a sustainable career in songwriting for performing artists and for sync music placement by building on existing relationships made within Waterbear, at MA residential and Songwriting camps.

I plan to:

Attend Songwriting camps

Join online forums and memberships

Reach out to potential collaborators

Reach out to potential performing artists

Reach out to potential Mixing specialists

And manage these relationships and contacts using my Network & Contacts spreadsheet (see below)

# data[].attributes.body
A Music degree helps develop a broad range of skills, many are transferable across industry sectors.

Key ones are Creativity & Collaboration (Eady, 2024).

I have skills I can transfer in to my music career from my finance background with the obvious being using those skills to manage my budget, company, pension. But also the networking and relationship building skills and the communication skills I need every day and in particular the listening skills.

# data[].attributes.body
WEEK BY WEEK CHAPTERS

1 PROFESSIONAL IDENTITY (L01)

2 CAREER & GOAL SETTING (L01, L03)

3 TRANSFERABLE SKILLS (L01, L03)

4 CREATE A BRAND (L03, L07)

5 INDUSTRY STANDARDS (L01, L03)

6 NETWORKING (L01, L07)

7 DIGITAL LITERACY (L01, L03, L07)

8 FINANCIAL LITERACY ⁽L01, L07)

9 LEGAL & ORGANISATIONAL (L01)

10 PLANNING REVIEW (L01, L03, L07)

+

11 REFERENCES

12 BIBLIOGRAPHY

13 INDEX & APPENDICES

# data[].attributes.body
Professional standards set the expectation for all in any given industry.  They provide a framework for everyone to work toward, a language and understanding everyone involved can learn, follow and understand and increases efficiency, clarity of expectations and safety.

An an independent songwriter wanting to secure sync-placements and collaborate with performing artists some best practice that applies to me is:

Accurate embedded Metadata in Sync tracks (Savage, 2025; BCAP, 2020)

Using industry file formats(Wav and MP3) and files created in 24 bit with 48000 sample rates. (Sellars, 2025)

Creating edits and variations of a track including full version, instrumental only and separate group stems for drums, vocals.

Clarity on who ownership Master and Composition.

Clarity on any splits with any collaborators having signed agreements (Musicians Union, 2022)

Be a member of a Performing Rights Organisation for me this would be PRS and maybe MCAP

Understand license agreements for sync upfront cost and future royalties (Musicians Union, 2022)

Professional pitching approach & music management

Reliable and timebound delivery of music requirements (Savage, 2025)

# data[].attributes.body
Prompt/Challenge: Create something starting from Production within my DAW rather than an instrument. Started in Production prompted by Jamie and developed in Owen's Songwriting Spark by myself.

Created drum groove, initially on my drum kit then played in via drum pads using stock "off the shelf" Ableton drum kits (LG Core and Selector)

Added 4/4 "Seashore Pads" using 3 chords in F Minor

Added midi "Choir pad" and Bass Synth using chord tones fitting with the drum pattern

Turned on the Mic for spontaneous chorus/lyrics and recorded multiple layers (hence why the lyrics are slightly different each layer)

Heavy reverb on vocal layers with EQ and Tape distortion on drums and bass.

Plan to Develop and Collaborate

# data[].attributes.body
The innovation module in Level 5 allowed me to really explore my creativity and new writing and production techniques.

I can see on reflection areas for improvement in:

Performance accuracy

Not taking on more than I can handle

Developing organisation and productivity

Improving the speed and quality of my 'creation to demo' workflow

Integrating production into my creative process.

# data[].attributes.body
There are many digital tools I am needing to use for my planning part of my Final Major Project and also my final project itself.

For delivery of my Final Major Project my main digital tool is ABLETON. I am far more proficient now than a year ago but I find the logic in Ableton quite a challenge.

I plan to delegate the Mixing and Mastering for my #FMP but I still need to record demos, sketches, programme Midi drums, record piano, sketch vocals and basic rough mix.

It was for all these reasons that at I set myself my Minute of Music Challenge for this module.

It was also the reason I joined mastering.com for the courses in compression and producing for sync licensing.

# data[].attributes.body
To not use work that isn't my own without agreement from the other artist.

Being mindful with samples including royalty free from splice

Complete and regularly review Health & Safety within my own studio space for myself and any artist collaborating within my home studio. Act on any issues as they arise.

Obtain consent for recording/unobtrusive documenting of writing process eg video, audio notes, transcription

# data[].attributes.attachment_caption
Started the week on a HIGH! Selected for one of the places on the MA songwriting retreat which supports my smart goal to develop songwriting and collaboration

# data[].attributes.headline
5.4 DEVELOPMENT OPPORTUNITY MA Songwriting  Residential

# data[].attributes.subject
5.4 DEVELOPMENT OPPORTUNITY MA Songwriting  Residential

# data[].attributes.attachment_link.title
I've sketched out songs and poetry for as long as I can remember but didnt imagine I could have a career doing that so I went down the family and finance route but never really stopped writing. Se

# data[].attributes.attachment_caption
Post Grad Planner to support GANNT Timeline

# data[].attributes.body
This project is much easier to cost the outgoings and harder to estimate the income as my income is based on unknown licence fees and royalties.

I am planning to complete further research on Grants, funding now that I can see the scale of costs.

For now I've put that I'm privately funding the outgoings which I am doing from my Part-Time work.

I've matched this financial budget to my GANNT Chart in terms of deadlines for website costs, mastering costs and subscriptions.

# data[].attributes.attachment_link.title
WB0300 Financial Cashflow & Budget - Business

# data[].attributes.body
Other tools I use well already for this module and project

Padlet for Development Diary

Canva for Brand and Presentations

Instagram & Substack for social media

Teams/One Drive/Google for file storage and sharing

Clickup for my Timeline, GANNT charts and Kanban

Loom and Veed for screen recording and Pitchdeck

ChatGPT for summarising research, looking for sources and structuring documents

I still need to research and learn

A chosen website (to be researched)

DISCO or Bridge audio for Sync catalog management

# data[].attributes.body
As part of the prep and development for my FMP I aim to

Complete a minute of music goal each week for Production, Creativity, Songwriting, Workflow and Speed.

Seek weekly feedback from tutors, peers and friends

Complete a wide range of Track Analysis

Continue with daily piano, drums and vocal practice

Actively seek more songwriting and collaboration opportunities

See 3.2 Personal Development Plan

# data[].attributes.headline
3.2 Personal Development Plan (L01, L03)

# data[].attributes.subject
3.2 Personal Development Plan (L01, L03)

# data[].attributes.body
I am taking a course on Mastering .com in Producing Music for Sync and Sync 101.

I'm also completing their fix-the-mix sessions

I am prioritising Jamie Sellars production courses as he approaches production and writing as the same creative process

I am open to songwriting and collaboration opportunities

# data[].attributes.body
I'm writing original music either in collaboration with or for performing artists with a view to securing sync placements.

So the Key Legal agreements for me will be SPLIT AGREEMENTS (see below) and use of this for METADATA for sync CLEARANCE.

Intellectual property is "non-tangible, a creation of the mind"  (Musicbed, 2025) this would include lyrics, songs, film.

As a songwriter with plans to work collaboratively this is something I'd need to protect.

Copyright of a musical work can only exist once it is written or recorded in a tangible form (Musicians Union, 2025)

I am in the process of registering with the PRS and will manage the updating of information myself.

I backup my files onto the cloud and add photographs, video clips and MP3 sketches and demoes into Evidence files.

My FMP includes a website with my Portfolio and details on display so I will ensure copyright notices are included on this. I will take care to ensure the music itself is either embedded or securely linked for listening to and not for downloading.

I'll keep my contact details up-to-date and accurate and include rights, artists, writers and contact details in metadata on tracks in public sync libraries.

Prioritising publishing contracts, copyright, evidencing and royalty agreements will be key for me as a songwriter looking to collaborate or secure sync placements.

# data[].attributes.body
Networking Goals:

Prioritise Performing Artists, Music Supervisors & Mixing Professionals.

Networking Management:

I've begun a dataset of individuals and organisations that I want to nurture and build relationships with (attached)

# data[].attributes.body
I'm leaning toward creating a portfolio or library of my work, perhaps for sync, library or audio branding

This aligns my first goal by the end of my degree to be able to write, record and demo my own authentic work

I'm also exploring creating emotional music that goes along with moving visuals

I also like the idea of a Music Retreat.

# data[].attributes.body
Having now completed my Specialist Report on Emotion, Lyrics and Music I can see how this knowledge is influencing my songwriting and will use this to select tracks and develop them further.

I've spent the past few weeks continuing to build on my Project Plan in particular:

1. Research website options for presentation of portfolio

2. Completing financial research on costs of delivering the budget

3. Focus group feedback on my potential tracks

Finalising Lyrics on potential tracks considering the emotional impact and need for Prosody between melody and lyrics (Patinson, 2025) and my own research findings.

# data[].attributes.body
By the end of Level 6 I will have a demonstrable library of music that showcases my emotion-led songwriting.

I've set the attached 4 SMART Goals to support this for this module to achieve by April 2025 focusing on

DAW Workflow

Performance Accuracy

Songwriting

Collaboration

# data[].attributes.body
Challenge/Prompt To capture initial piano/emotion/idea into DAW much earlier then develop with the rhythm in mind.

This GMajor7 piano intro was floating around so I used the #GSD Club to give me a time boundary to develop it then recorded it into Ableton.

Piano and Pad only at the moment.

I plan drums or drop at 0:40 and vocals

Pads will change, they were just a first option on my template for speed

Piano still being improvised/played so will take the parts I like best and develop

# data[].attributes.body
Whilst I need a brand I don't want to use my own surname.

Looking at competitors in Sync and Songwriting they are using names (David O Dowda, Piney Gir, Max Martin, Andrea Stolpe)

I plan to develop a pseudonym that sounds like a name. EG Catherine, Grace, Wilde, Lee, Dylan or my middle name Jayne.

# data[].attributes.body
Berkemeier, S. (2021). ‘How Psychology can help with emotions and music’ Table Top Composer

[YOUTUBE] Available at: https://www.youtube.com/watch?v=olXBnBSu7nk (Accessed 12th

February 2025)

BMAT Music Innovators. (2020) Get Your Hit Together. Available at: https://www.bmat.com/get-your-hit-together/ (Accessed 3 March 2025)

Cammon Network. (2025) Uncovering the Top Social Media Platforms to Propel Your Music Career: How to Expand Your Fanbase with Instagram, TikTok, and More. Available at: https://www.cammonetwork.com/post/best-social-media-platforms-musicians-2025 (Accessed 23 March. 2025)

Conlon, R., 2025. Songs for Every Emotion: Ultimate Music Guide for Any Mood 2025. Available at: https://yourmusicdepot.com/songs-for-every-emotion/ (Accessed 21 March 2025)

Cowen, A,S., Fang, X., Sauter, D & Keltner, D. (2020) “What music makes us feel: At least 13

dimensions organize subjective experiences associated with music across different cultures”. Proc.

Natl. Acad. Sci. U.S.A. 117 (4) 1924-1934. Available at

https://www.pnas.org/doi/epdf/10.1073/pnas.1910704117 (Accessed February 2025)

Clash Magazine, 2021. Piney Gir Interview. [online] Available at: https://www.clashmusic.com/features/piney-gir-interview [Accessed 22 March 2025].

EDM Tips. (2024) How to Create EMOTIONS with MELODIES. [YouTube] Available at: https://www.youtube.com/watch?v=-4-s67sdcvU (Accessed 22 February, 2025)

Ewer, G., 2022. How to Write a Song That Connects In an Emotional Way. Available at: https://www.secretsofsongwriting.com/2022/07/07/how-to-write-a-song-that-connects-in-an-emotional-way/ (Accessed 24 February, 2025)

Heller, C. (2017) Cathy Heller – Selling songs for sync licensing. DIYMusicianPodcast. [YOUTUBE] Available at: https://www.youtube.com/watch?v=_Bg3UpYkJ2s (Accessed 3 March, 2025)

LinkedIn (2025) How do you create a strategic networking plan? Available at: https://www.linkedin.com/advice/1/how-do-you-create-strategic-networking-plan (Accessed 18 March 2025)

Loveless, C (2024). Sync 101, The importance of emotion for sync. Mastering. Available at mastering.com (Accessed 27 January 2025)

NPR Music, 2021. Phoebe Bridgers Creates a Soundtrack for Her Own Existence. [online] Available at: https://www.npr.org/sections/allsongs/2021/03/23/979694242/phoebe-bridgers-creates-a-soundtrack-for-her-own-existence [Accessed 22 March 2025].

NetWerk Movement (2024) 5 Easy Steps To Create a Networking Plan (with template). Available at: https://netwerkmovement.com/steps-to-create-a-networking-plan/ (Accessed 21 March 2025)

# data[].attributes.body
Mayzes, R. and Loveless, C. (2024) Sync 101, Mastering. Available at:

https://courses.mastering.com/courses (Accessed: 7 March 2025)

Musicians' Union, 2023. Copyright for Songwriters and Composers. Available at: https://musiciansunion.org.uk/working-performing/composing-and-songwriting/copyright-for-songwriters-and-composers [Accessed 1 April 2025]

Musicbed (2025) Exploring IP Rights in the Music and Film Industries. Available at: https://www.musicbed.com/articles/resources/intellectual-property-in-music-and-film-industries/ (Accessed: 7 March 2025)

Musicbed (2025) Music in Film Trend Report | 2025. Available at: https://www.musicbed.com/articles/filmmaking/music-in-film-trend-report-2025/

MusicRadar, 2025. The best website builders for musicians. Available at: https://www.musicradar.com/news/the-best-website-builders-for-musicians (Accessed 28 March. 2025)

Music Gateway (2025) Music Licensing Companies: Sync Licensing. Available at: https://www.musicgateway.com/music-licensing-companies-sync-licensing [Accessed 28 March, 2025)

Neely, A. (2025) 10 Chord Progressions That Unlock Every Emotion in Music. YouTube video. Available at: https://www.youtube.com/watch?v=6TQ_6k_11eo (Accessed 21 February 2025)

Patinson, P. (2025) ‘Prosody in Music & Songwriting’ Berklee Education. Available at:

https://online.berklee.edu/takenote/prosody-in-music-and-songwriting/ Accessed Mar 23rd 2025

Park, M., Gutyrchik, E., Welker, L., Carl, P., Pöppel, E., Zaytseva, Y., Meindl, T., Blautzik, J., Reiser,

M., & Bao, Y. (2015) ‘Sadness is unique: neural processing of emotions in speech prosody in

musicians and non-musicians’, Frontiers in Human Neuroscience, 8, pp. 1049. Available at:

https://www.frontiersin.org/articles/10.3389/fnhum.2014.01049/full (Accessed: 31 March 2025)

Patinson, P. (2025) ‘Prosody in Music & Songwriting’ Berklee Education. Available at:

https://online.berklee.edu/takenote/prosody-in-music-and-songwriting/ (Accessed Mar 23rd 2025)

Park, M., Gutyrchik, E., Welker, L., Carl, P., Pöppel, E., Zaytseva, Y., Meindl, T., Blautzik, J., Reiser,

M., & Bao, Y. (2015) ‘Sadness is unique: neural processing of emotions in speech prosody in

musicians and non-musicians’, Frontiers in Human Neuroscience, 8, pp. 1049. Available at:

https://www.frontiersin.org/articles/10.3389/fnhum.2014.01049/full (Accessed: 31 March 2025)

Pastukhov, D. (2023) "How Broken Metadata Affects the Music Industry And What We Can Do About It?" Soundcharts. Accessible at https://soundcharts.com/blog/music-metadata (Accessed 19 February 2025)

Perkins, V. (2024) Branding for Musicians feat. That Good Sht, arabbitshole, and The Luna Collective*. DIY Musician Podcast. Available at: https://podcast.cdbaby.com/2024/08/367-branding-for-musicians-feat-that-good-sht-arabbitshole-and-the-luna-collective/ [Accessed 15 March 2025]

Pitchfork, 2011. The Black Keys: El Camino. [online] Available at: https://pitchfork.com/reviews/albums/the-black-keys-el-camino/ [Accessed  22 March 2025].

PRS for Music, 2025. PRS for Music: royalties, music copyright and licensing. Available at: https://www.prsformusic.com/ (Accessed 25 March, 2025)

Savage, G. (2025) "How to Prepare Your Music for Licensing. VItal Steps" DIYMUSICBIZ. Available at https://www.diymusicbiz.com/music-licensing-placements/ (Accessed February 2025 )

SD, Chris. (2025) "The Art of The Pitch". Sync-Songwriter. Available at https://syncsongwriter.com/ (Accessed January 29 2025)

Songtrust, 2021. Sync Spotlight: David O'Dowda. [online] Available at: https://www.songtrust.com/blog/sync-spotlight-david-odowda [Accessed 22 March  2025].

Speed Songwriting, 2025. How to Bolster Your Song’s Emotional Impact: A Guide to Melodic Direction and Rhythm. Available at: https://speedsongwriting.com/bolster-song-emotional-impact-guide/ (Accessed 25 February 2025)

Sync Songwriter, 2025. Do THIS when meeting a music supervisor for TV & film. Available at: https://syncsongwriter.com/blog/do-this-when-meeting-a-music-supervisor (Accessed 4 April 2025)

Sync Songwriter, 2025. A Complete Guide to Sync Placements: What Every Indie Musician Needs to Know. Available at: https://syncsongwriter.com/blog/complete-guide-to-sync-placements (Accessed 7 APril, 2025)

Sliiger, A. (2024) The Secret to Landing Your First Sync Music Placement. Available at [Youtube] https://www.youtube.com/watch?v=-o-AMkufAZI (Accessed 2nd April, 2025)

Stassen, M., 2023. 'There are now 120,000 new tracks hitting music streaming services each day'. Music Business Worldwide. Available at: https://www.musicbusinessworldwide.com/there-are-now-120000-new-tracks-hitting-music-streaming-services-each-day/ (Accessed 5 April 2025)

The Sync Report (2025) Comprehensive directory of music supervisors, and advertising agency contacts licensing indie songs. Available at: https://www.thesyncreport.com/ (Accessed 21 March 2025)

Taylor, T., 2021. From Bob Dylan to David Byrne: Tips on songwriting from the masters. Far Out Magazine. Available at: https://faroutmagazine.co.uk/songwriting-advice-and-tips-from-musicians-alex-turner-bob-dylan-paul-mccartney/ (Accessed 21 February 2025)

Will, X J. (2023) Sync Licensing Secrets: Crafting Music That Get Placements in 2025. [YOUTUBE] Available at https://www.youtube.com/watch?v=QkAngZm75r0 (Accessed 2nd March 2025)

Zentner, M., Grandjean, D. & Scherer, K., 2025. Geneva Emotional Music Scale (GEMS). Available at: https://musemap.org/resources/gems [Accessed 23 March 2025]

# data[].attributes.body
Other artists who write emotional music mainly piano based and either work as co-writers, lyricists and secure sync placements

David O-Dowda

Piney Gir

The Black Keys

Phoebe Bridgers

I've also contacted Jamie Sellars and a sync songwriter connection from Clare Silver who have both agreed to be interviewed next month as case studies.

# data[].attributes.attachment_caption
Applies & Selected to volunteer at Tons of Rock festival Norway in June 

# data[].attributes.body
As part of my research into successful sync songwriting Ime reviewing successes such as these 12 tracks, all indie songwriters and all with significant sync placements so I can Listen and Analyse and apply to my own songwriting

# data[].attributes.attachment_link.title
Sync Successes - Competiion, Case Study and Track

# data[].attributes.body
To become a successful songwriter creating emotional, evocative, and original indie music that lands sync songwriter placements in TV shows, films and other media and opportunities to co-create, collaborate & write with talented performing artists.

# data[].attributes.body
Research (Omar 2006) has shown that Melody may trump lyrics for emotional impact for listeners. This is slightly skewed for sad songs where the lyrics increase the impact but in happy or calm songs melody rules.

I plan to further research this for WB0301 and use my finding to shape my songwriting for this project. I think Plutchiks wheel of emotion may be a useful framework for categorising and measuring emotional impact of music.

# data[].attributes.attachment_link.title
Vidas, D., Dingle, G. A., & Nelson, N. L. (2018). Children’s recognition of emotion in music and speech. Music & Science, 1. httpsdoi.org10.11772059204318762650

# data[].attributes.body
Part of my Research will centre around how we evoke emotion in Music. Whilst not a strict rule, keys and chords broadly evoke different feelings and for speed of writing for Sync this knowledge provides a valuable framework and starting point.

(Loveless, 2024)

# data[].attributes.attachment_caption
Practice Plan for WB0300 to achieve Smart Goals and support PDP

# data[].attributes.body
Struggling Counting rests

Loving Extended chords and inversion

Improving Sight rhythm reading

# data[].attributes.body
Brilliant APP for practicing single and double handed rhythms, tempo and timing

# data[].attributes.attachment_caption
L03 Drum Practice Timing and Performance Accuracy

# data[].attributes.body
Struggling playing Kick when not on beat 1 or 3

Loving Cross stick snare & ride

Improving General awareness of timing and pulse

# data[].attributes.attachment_caption
L03 Drum Practice for SMART Goal Performance Accuracy

# data[].attributes.body
Struggling Off Beat Hi-Hats

Loving 16th note 1 bar fills

Improving Post fill, crash and bass on beat 1 still picking up hi-hat on 1and the 2nd on the snare

# data[].attributes.body
The main ethical challenge I foresee is in and around composition rights and acknowledging them.

Whilst collaborating with musicians can be enjoyable it's important to decide upon any splits at the time a song is being written to avoid future fall out, conflict or slow down sync clearnace.

Having these agreements in place

1. preserves good relationships with talented artists

2. Ensures all are fairly rewarded should the song be placed

3. Speeds up placement process increasing likelihood of success

Ensure sync clearance can happen quickly - as if its not quick it can be lost (SD, Chris, 2025)

# data[].attributes.body
PRS collects and pays out performing royalties when music is:

performed live

broadcast on TV or radio

played in public

streamed online

used in film

I plan to join PRS for this Project and once I've successfully placed music or another Artist releases, then I will join MCPS.

MCPS collects and distributes mechanical royalties on behalf of members for

commercially released by a record company on a CD, DVD or LP

recorded and used by a radio or TV programme

recorded and used for an audiovisual or multimedia production

used online

# data[].attributes.attachment_caption
Developing ideas for Website Portfolio - Fonts Wild, Natural, Understated. 

# data[].attributes.body
Settling on natural greens, neutral sands and a font that looks like my Handwriting/signature and using my forenames.

I aim to replace the images with more personal branded ones and have a Skills-Swap brand photoshoot arranged for May with another student.

# data[].attributes.body
A simple 6/8 piano melody, folksy sounding in G Mixolydian modulating to F.

Lyrical themes (not yet written/recorded)

Held you

Moving

In Stillness

Still moving

But you were not there

You weren't there.

# data[].attributes.body
A week of collaborating, writing, playing music, toplining and writing both to brief and freely.

# data[].attributes.body
For WB0301 I am researching the role of lyrics in creating emotional reaction in audience.

I asked musicians to submit tracks they found "Deeply Moving" and received 30 tracks for me to critically listen to and analyse.

In WB0300 I'm using this Track Analysis to identify how I can improve my own songwriting to create a deeper emotional response because

I found that music more likely to placed in sync is "on the edge of emotions (Henrik-Wahl, 2025) so the sadder sad songs, grittier angry songs and happier joyful ones.

# data[].attributes.body
Having collaborated with Artists at Chapel Studios during the Songwriting MA Residential I learned the importance of split agreements like the attached.

For sync licencing and to achieve quick clearance to work at the speed of Music Supervisor placements I have created a blank template and intend to use them within my Songwriting & Collaboration processes.

Ethically I also like the concept of equal splits with "those in the room" whether that is virtual or real at the time of writing.

# data[].attributes.body
I'm continuing communicating with collaborators and networking:

Collaboration with Charlotte for my FMP

Collaboration with Francis for my FMP

Songwriting Camp and relationship building with Carl for my ongoing Relationship Building

Mixing help contacting Paddy for connection suggestion

Jamie from MA course who may be developing the Track we collaborated on (Dead in the Night)

Andrew and Max as they are releasing the song (Running In and Out of Time) that we, Kaya and Jamie collaborated on,

# data[].attributes.body
Groups, Networks & Organisations I've now joined:

The Songwriters Forum

SoundBetter (In process)

Ivor Academy

Mastering.com

Songwriting Camps (TBA)

# data[].attributes.body
This reflection is around my feelings of being inadequate, imposter and falling short with actions to help me take a more balanced perspective going forwards.

# data[].attributes.body
Based on research and comparison I opted for using:

1. Instagram - To focus on creating a following of collaborators, musicians and performing artists.

2. Substack - The place for writers and replaces my previous poetry blog whilst allowing me to build up a community of artists, writers and musicians.

3. Both also me to write and perform regularly to develop my writing and songwriting skills.

My Future plans on Substack are Weekly songwriting journal, sharing the stories behind my songs, private releases, subscriber-only demos but for now its a place for weekly writing and my Artists Way project

I've disregarded Facebook, Linkedin, X, Pinterest as not suitable for my time availability and my Networking goals.

LinkedIn: My future plans involve using Linkedin to connect with sync agents, publishers, producers and will reflect in my Network strategy for next module.

# data[].attributes.body
Having now decided to use my forenames as my Brand name and based on my social media research, I started my music Instagram account

Strategy

1. Post one Reel a week of my piano playing/songwriting

2. Post a personal story/insight onto story

3. Begin finding, following, commenting and engaging with artists, musicians to support my networking contacts list

# data[].attributes.headline
6.5 PRACTICE Writing & Relationships (L07)

# data[].attributes.subject
6.5 PRACTICE Writing & Relationships (L07)

# data[].attributes.body
I signed up to Substack last December to commit to regular writing.  I plan to use this to log my weekly progress on The Artists Way and then develop my network of writers and musicians.

# data[].attributes.attachment_link.description
“Expression with Music & Words. Click to read Catherine-Jayne, a Substack publication. Launched 2 months ago.

# data[].attributes.body
Having begun my case studies with 2 songwriter/producers I've started to identify some common advice/pathways

Jamie S - highlights the importance of strategic relationships and collaborations.

Carl H.W - highlights the value of collaboration with an artist/producer and being in the extremes of emotion

Both recommended involving myself in multiple Songwriting camps

This knowledge has shaped my Networking Strategy & overall project to include prioritising Artists & Producers alongside Music Supervisors in my relationship building

# data[].attributes.body
The Final Minute of music for this Project based on the prompt HOURGLASS and being written for a performing Artist called Rae-Lou.

She wanted a track that was on the idea of time moving too quickly and regret around the decisions and things we do and dont make.

# data[].attributes.body
I'm still aiming toward:

Creating a portfolio of music that showcases my skills as a songwriter.

2/3 tracks by me ON A SUNDAY, AFTER YOU and another TBC

2 tracks collaborating with performing artists: Francis. SOMETIMES and Charlotte. UN:BROKEN

Other decisions and updates to my GANNT Chart:

Displaying portfolio on a website (TBC which company)

Bought my domain name using my own brand name

Signed up to PRS

Will also catalog music library on Disco or similar

Using track analysis, research and WB0301 to help me write emotionally strong songs.

Updated my Networking & Relationships as following a post on Instagram I was contacted by a singer in Singapore who wants to collaborate (Rae-Lou)

# data[].attributes.body
Managing to practice most days and still finding small opportunities to beginning building confidence playing in public with community music and groups.

# data[].attributes.body
PROFESSIONALISM & PLANNING (L01⁾

SWOT Analysis

SMART Targets

Skills Gap

GANNT Chart - Project Plan

GANNT Chart - Summative

GANNT Chart - Long Term FMP

Personal Development Plan

Practice Plan

GIBBS Reflections

Networking Relationship Management

COMMUNICATION (L07)

Mood Boards Brand

Project Proposal (FORMATIVE)

Networking Strategy

Project Proposal (SUMMATIVE)

RESEARCH (L01, L03, L07)

Research Summary

Research Evidence

Finance Budget

EVIDENCE (L03)

Minute of Music - Messy Road

Minute of Music - Murmurs

Minute of Music - Sometimes

Minute of Music - FFS

Write Brief - Dead in the Night

Write Brief - X-plosion

Free Write - In & Out of Time

Minute of Music - Beautiful Death

Minute of Music - Un:Broken

Minute of Music - Holding On

Minute of Music - HourGlass

PRACTICE DIARIES (L03)

Drum Practice

Piano Practice

Songwriting

Substack

ASSETS for #FMP (L01, L03, L07)

Brand Assets

Instagram

Tracks Developing

Lyrics

# data[].attributes.body
Brief: Write for Artist

Cowriters: Jamie Payne, Catherine Thomas-Humphreys, Max Burdett, Kieron Pepper

Artist: Jamie

Lyrics: Catherine & Jamie

Production, Lead Guitar: Max

Bass, Guitars: Kieron & Jamie

Reference: Queen of Stoneage.

Lyrics:
I can’t stand the fading of the light
Every time you close the door, I fight
I would travel every ocean to get away
I could break down every dawn to steal the day
I can’t stop the fading of the Light

Dead in the Night
Killing the time when there no end in sight
Dead in the night

Shadows slide inside my restless mind
Time keeps moving on, a thief in time
I could stare down every silence that you put me through
I tear off every hand til I’m free of you
I can’t stop the fading of the light

Dead in the Night
Killing the time when there's no end in sight
Caught in the flame of a dying sun - un
Dead in the night

# data[].attributes.body
Co-written by Kaya, Francis, Paddy and Me

Brief - Write for Eurovision Song Contest. Visual, Impactful, supposedly non-political but with a message.

Our disdain regarding X, rockets and supposed 'heartfelt gestures' in a Titanic meets Space 'Musk'-eteers theme.

You say it loud you say it proud (your legacy)
Say your heart goes out to the crowd (no time for me)
And no one ever says it like you (!)
But You’re the spark, to my

X-plosion
You’re Clear to fly
X-plosion – ride or die
Boom bang baby hey I say bye bye
X-plosion

Boom Bang baby
It’s got a little crazy
Been banging on my space pans,
Cyber truck racing.
So Hold tight lady
I'll soon be on my way
Just traveling up to mars
But I ain't got very far.

Hey I A.I... A I A I

I met some space musketeers that I haven’t seen in years
They said they liked the side car in my dodge, and I said cheers
then We danced into a trance techno echo chamber prancing
Travel back in time turned our values around, enhanced them
All for one, not one for all..
Boom bang baby crypto falls.
All for one, that one is me...
system error cosmically

X-plosion
You’re Clear to fly,
X-plosion – ride or die
Boom bang baby hey I say byebye
X-plosion

# data[].attributes.body
A free writing session with an instrumental previously created then produced by Max, featuring Andrew as Artist and toplined by Kaya, Jamie and myself.

Don't let the time just drift on by
It's not your heart to break it's mine
Running in and out of time
Dancing in the moment in the face the time
Tried to turn the clock back but we can't rewind
The moments precious I'm not wasting mine
One step forward then we're back leave the dance behind
You know we belong together
You know thats meant to be
This is now or never
I don't want be free
On my mind all the time
Let's just find a way
Sometimes some things never go to plan
Stuck in something, we don't understand

Chorus
Don't let the time just drift on by
It's not your heart to break it's mine
Running in and out of time

I'm still holding out, I need to hear your voice
Tell me now, you got to make a choice
Cause we belong together
You know thats meant to be
This is now or never
I don't want be free
On my mind all the time
Let's just find a way
Sometimes some things never go to plan
Stuck in something, we don't understand

Chorus
Don't let the time just drift on by
It's not your heart to break it's mine
Running in and out of time

# data[].attributes.body
Part of my Best Practice and Professionalism as a Collaborative Songwriter is to agree Split Sheets with other writers whilst we are in the room.

These agreements will ensure all contributors are rewarded fairly and Meta data for sync placements is accurate and can be cleared quickly.

We used one at the end of each collaborative session at Chapel Studios.

# data[].attributes.body
Martínez Burgos, M. (2020) Language prosody as a resource in musical composition. Unpublished

dissertation. University of Oxford.

Moore, K. (2024).’What Makes Sad Music Sad?’ Psychology Today. Available at:

https://www.psychologytoday.com/us/blog/your-musical-self/201709/what-makes-sad-music-sad

(Accessed 30 March 2025)

Nendick, Z. (2022). ‘How does music make you feel?’ The British Psychological Society. Available

at: https://www.bps.org.uk/psychologist/how-does-music-make-you-feel (Accessed on 1st February

2025)

Nussbaum, C., Schirmer, A., & Schweinberger, S. R. (2024). Musicality – Tuned to the melody of vocal

emotions. British Journal of Psychology, 115, 206–225. Available at:

https://bpspsychub.onlinelibrary.wiley.com/doi/10.1111/bjop.12684 Accessed March 23rd 2025

Scherer, Klaus R, and Marcel R Zentner. (2023), 'Emotional Effects Of Music: Production Rules',

Thompson, W. (1992) “Can Composers Express Emotion through Music”. Thesis. York University.

North York, Ontario.

Thompson, W. F., & Russo, F. A. (2007). What makes musical lyrics emotional?. Psychology of

Aesthetics, Creativity, and the Arts, 1(3), 165-172.

The Grants Hub, 2025. 'In-kind' support. Available at: https://www.thegrantshub.com.au/grant-resources/articles/in-kind-support [Accessed 21 March, 2025].​

# data[].attributes.attachment_caption
Collaborative Songwriting at Chapel Studios

# data[].attributes.attachment_caption
FOLDER of Draft Assets for Final Major Project WB0302

# data[].attributes.body
Tracks to Develop:

SOMETIMES - featuring Franc & I

UNBROKEN - featuring Cora-Rose

HOURGLASS - featuring Rae-Lou

SUNDAY AFTER YOU

BEAUTIFUL DEATH

plus MESSY ROAD as contingency

Lyrics for all tracks

Website mockups

Project Plans and Timelines

Professional Tools & Trackers

# data[].attributes.body
I'm aiming to write a piece specifically for Charlotte.

She wanted something that combined Natural with Powerful, Angry Feminist meets Mother Nature.

Initial Lyric Ideas

Chorus

I am the storm

I am the sea

Unbroken

Wild & Free.

I am my voice

I am my right

Not Unspoken

In your silenced night

Post chorus

I am the dark,

I am dawn

That breaks through

I am Unbroken.

# data[].attributes.attachment_caption
Jamie S Case Study - DRaft Transcript for Developing.

# data[].attributes.attachment_caption
Carl H Songwriter Case Study - Draft Transcript and Summary

# data[].attributes.attachment_link.title
Carl H Songwrter Case Study - Transcript and Summary

# data[].attributes.body
Love: Obsessing over basic patterns, so therapeutic

Challenge: Spaces, rests and imagining the length of the "gap"

Wins: Two handed Hi hats to snare I find really intuitive

# data[].attributes.headline
10.2 TRACK FEEDBACK FOCUS GROUP (L03, L07)

# data[].attributes.subject
10.2 TRACK FEEDBACK FOCUS GROUP (L03, L07)

# data[].attributes.body
I gathered a small group of 6 friends and family and let them know these tracks are very early in development at Sketch/Demo phase.

They all listented to each #MinuteofMusic whilst reading the PDF Lyrics and feedback on their thoughts and feelings.

They were made aware if the Artists would be a collaborative or myself

They were asked to select their preferred 5 based on what they'd read and heard

They gave a short emotive led feedback

The tracks most liked were:

SOMETIMES

SUNDAY AFTER YOU

BEAUTIFUL DEATH

UNBROKEN

followed by

MESSY ROAD

HOURGLASS

# data[].attributes.attachment_link.description
Please listen to up to the minute of each Track and review the lyrics (provided) and note your thoughts and feelings about each track. Please feedback in particular any thoughts on emotions, feelings, what the track made you think of. These tracks are very early in development (Sketches and Demos) so please feedback accordingly

# data[].attributes.attachment_link.title
Count of Votes for Minute of Music Tracks

# data[].attributes.body
I've updated my timeline to reflect the Tracks selected for development and with more clarity around the next stage of my Project

# data[].attributes.body
Developing Track: A Sunday After You

# data[].attributes.body
When putting my Project Proposal together it became clear that I was not yet clear on what it really was. So I:

revisited my Mind-Maps

looked for overlapping themes

and discarded everything outside that for now

until I could distil my project in a single paragraph and build back up from there.