The purpose of this module is to help me review the direction of my project, looking at what I originally set out to do, and refining it based on everything I’ve learned so far. It encourages me to reflect critically.

This step is important for my progression because it ensures I’m not just completing work for the sake of it. Instead, I’m shaping a final portfolio that accurately represents my skills, ambitions, and potential value in the music industry.

One key point was the need to engage in deeper critical analysis, especially in how my business structurally addresses professional and ethical challenges. While my reflections around gig payments and experiences within local music scenes were considered thoughtful, I was advised to link these ethical reflections to more current legislation and deeper critical analysis. This has made me realise that personal insight alone is not enough, I need to demonstrate how my business would implement clear policies and procedures in line with industry regulations and laws. I will address this by conducting more targeted research into current legislation affecting freelance musicians and small music businesses, and reflect this in the structural planning of "Songbird Sounds".

My branding and communication received both praise and constructive feedback. The feedback highlighted my use of multimedia, mood boards, and rationale for the business name as effective and thoughtful. However, it was also noted that the consistency and visual elements of some media could benefit from improvement. This is something I had overlooked slightly while focusing on research and planning. Moving forward, I intend to create a cohesive brand style guide to uniform the aesthetic and layout across all materials. This will help establish a more professional identity for my business.

Another area highlighted for improvement was the lack of detail in my rehearsal or skills development documentation. While I focused heavily on logistical and business-side planning, I realise now that capturing my personal and musical growth, especially if I intend to include performance as part of my FMP, is just as important. I will be ensuring I regularly reflect on skill building activities, such as rehearsals, vocal development, and include these as part of my ongoing documentation.

Finally, I was encouraged to enhance the financial realism of my project. My budgeting was described as sound, but I was advised to go a step further by estimating projected income and comparing it to my expected workload. This is something I had not considered in depth, and I now see how valuable it would be to test the sustainability of my seasonal business model. I will incorporate this by developing a simple projected income spreadsheet, based on different teaching schedules and service models.

In summary, the feedback from WBO302 was both encouraging and motivating. It helped me recognise the strengths of my preparation and communication while giving me actionable steps to improve, particularly in structural thinking, branding consistency, critical engagement with ethics and law, and documentation of personal growth. As I continue to develop 'Songbird Sounds', I will use this feedback to refine my work and ensure I present a well-rounded, professionally viable business.

• Portfolio depth: Adds rehearsal and development details that were missing.

• Presentation clarity: Reflects my updated direction (no tutoring, more creative).

• Branding improvements: Focused on visual consistency and polish.

• Ethical thinking: Strengthens my professionalism with real-world practices.

• Workload realism: Shows sustainability and income planning (e.g. time vs. money).

A core aim of "Songbird Sounds" is to be a joyful and expressive outlet- one that contrasts with, rather than replicates, my day-to-day job of teaching. Providing tutoring would likely compromise this intention, increasing the risk of burnout.

By streamlining my focus towards performance-based services and community engagement, I can create a more sustainable work-life balance while investing more energy into the social, collaborative, and celebratory aspects of music-making. These areas are not only more personally fulfilling, but also more authentically aligned with the spirit and long-term vision of "Songbird Sounds".

One of my biggest takeaways from this chapter is that contracts are everywhere in music- whether it’s for recording, publishing, management, or live gigs. Each one has the potential to affect your money, your creative freedom, and your future. If you don’t fully understand the terms, it’s easy to end up stuck in unfair deals that take away your control or income. Examples like Prince, Taylor Swift, and The Verve show how even famous artists have faced big problems because of bad contracts.

I also learned that protecting your work legally is essential. Copyright kicks in automatically when you create music, but registering with organisations like PRS for Music or PPL helps you track your music, collect royalties, and stop others from using your work without permission. If your music is being streamed, played on the radio, or used in videos, you could be earning royalties- but only if you’ve taken the steps to register properly.

Royalties aren’t something that just show up. You have to be on top of them by making sure your music is licensed and your rights are registered. There are different types of royalties for performances, streams, downloads, and use in media like TV and film, and each has its own system. It’s up to you to make sure you’re getting what you’re owed.

What stood out most was how easily new artists can be taken advantage of if they don’t ask questions or get advice. The industry can be ruthless, and there are a lot of people ready to take more than their fair share. Rory Taylor’s advice really stuck with me- don’t be afraid to talk about money, protect your work, and always know what you’re signing. It’s your music, your brand, and your income- so take ownership of it.

In the end, career safeguarding is about being prepared. It’s not just about creating music, but making sure that your rights, your time, and your creativity are respected and protected.

Gov.uk (2024) Set up a private limited company. Available at: https://www.gov.uk/set-up-limited-company

UK Government (2024). How copyright protects your work. [online] GOV.UK. Available at: https://www.gov.uk/copyright.

musiciansunion.org.uk. (2025.). Live Engagement Standard Contracts. [online] Available at: https://musiciansunion.org.uk/legal-money/job-contracts-and-business-agreements/standard-contracts/live-engagement-standard-contracts.

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Baym, N.K. (2018) Playing to the Crowd: Musicians, Audiences, and the Intimate Work of Connection. New York: NYU Press.

Arts Council England (2024). Arts Council England. [online] Artscouncil.org.uk. Available at: https://www.artscouncil.org.uk/.

Hull, G. (2021) Community Music and Partnerships. London: Routledge.

Passman, D.S. (2019) All You Need to Know About the Music Business. 10th edn. New York: Simon & Schuster.

Wikström, P. (2020) The Music Industry: Music in the Cloud. 3rd edn. Cambridge: Polity Press.

Arts and Culture East Devon. (2023). Sarah Owen | ACED Directory | Arts and Culture East Devon. [online] Available at: https://www.aced.org.uk/directory-listing/sarah-owen

Philsmyth.co.uk. (2025). Phil Smyth Music | unique wedding & event singer | Devon & Cornwall. [online] Available at: https://philsmyth.co.uk/

Findaperformer.net. (2025). Wedding Singer / Guitarist Devon | Acoustic Acts | ID147. [online] Available at: https://findaperformer.net/hire/147/wedding-singer-guitarist-devon

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HM Revenue & Customs (2016). Travel - mileage and fuel rates and allowances. [online] GOV.UK. Available at: https://www.gov.uk/government/publications/rates-and-allowances-travel-mileage-and-fuel-allowances/travel-mileage-and-fuel-rates-and-allowances.

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TCV – The Conservation Volunteers (2024) About Us. [Online] Available at: https://www.tcv.org.uk

Commercial strategies are about putting actions in place to make sure my idea can succeed. This includes things like how I promote it, how I might earn money from it, and how to keep it going in the long run.

I found the Business Model Canvas and Competitor Matrix really helpful. They made me think about who my audience is, how other people run similar businesses, and what makes "Songbird Sounds" stand out. Even though I’m not aiming to make a huge profit, it’s still important to be clear on how the project can be sustainable and well run.

One of the biggest things I’m taking away is the idea of treating my project like a real-world business, even if it’s small at first. I don’t need to rush growth, but I do need to build a strong foundation now.

This reflection has helped me se

(Arts and Culture East Devon, 2023)

(Philsmyth.co.uk, 2025)

(Findaperformer.net, 2025)

In terms of the environment, my project already has a small footprint. I work solo, locally, and I already own the equipment I need. I plan to limit travel where possible and avoid unnecessary printing or waste from merchandise.

Socially, I want live music to stay accessible, especially for care homes and the wider community. That is why affordability and human connection are central to the business.

Choosing not to offer tutoring was also a sustainable decision. It protects my wellbeing and helps keep the project enjoyable rather than adding more pressure. I will reflect these values in my portfolio and continue to build a business that supports my career without leading to burnout.

This chapter helped me realise that collaboration isn’t just about sharing tasks. It’s about building shared goals, listening, and using feedback to improve. Tuckman’s stages of teamwork also made me reflect on how relationships develop over time. I’m now more aware of how to manage challenges and build better connections.

Collaboration is central to the heart of "Songbird Sounds". It allows the project to grow in a meaningful, community-focused way, and I’ll continue to build on these skills throughout and after the FMP.

More recently, I reached out to Victoria for further insight into how venues like The Beehive approach booking artists. I explained that this was to support my Final Major Project, and asked for guidance on topics such as booking timelines, payment structures, and expectations of performers.

From her response, I learnt that The Beehive, like many venues, works up to a year in advance when planning events. She explained that while they used to offer guaranteed minimum payments, they now mainly operate on a ticket split basis (typically 70/30 in favour of the artist). Other options include a flat fee or room hire model, depending on the event and artist. I also learnt that all events go through a technical approval process first, and that the venue’s marketing team works closely with performers to build a tailored promotional strategy.

This advice has been hugely helpful in shaping how I approach future bookings for "Songbird Sounds". It reminded me of the importance of advance planning, strong marketing, and flexibility around payment. It also reassured me that my informal solo setup can still fit within more structured professional environments, provided I communicate clearly and offer value.

Understanding tax and business registration is essential for working legally and professionally in the music industry. If I earn more than £1,000 from self-employment, I must register with HMRC to avoid fines and stay compliant. Registering also builds credibility with clients and opens doors to funding and financial support.

Starting out, registering as a sole trader is the simplest and most flexible option. It allows me to declare income and expenses annually and pay tax accordingly. As the business grows, I could consider developing to a limited company, which offer more legal protection but can be more complex and costly to manage.

Tracking income and expenses carefully is important to manage finances well and claim allowable business costs. Things like office supplies, travel related to work, equipment, marketing, and professional development can usually be claimed as expenses.

Ultimately, choosing the right business model depends on balancing risk, costs, and future goals. There’s no one-size-fits-all answer, so I need to think carefully about what fits my project and career plans. Consulting an accountant or tax advisor is a good idea to stay informed and compliant.

A great portfolio is more than just a collection of work; it’s a curated showcase of my journey, skills, and potential. It should balance creativity with clarity, showing both development and final outcomes. Quality matters more than quantity, so only my best and most relevant work should be included.

Key features of a strong FMP portfolio:

• Consistency- Cohesive design, tone, and layout across all materials

• Organisation- Easy navigation with clear sections, hyperlinks, and logical flow

• Professionalism- High-quality visuals, formatting, and polished presentation

• Academic Integrity- Clear links to Learning Outcomes, word counts, and Harvard references

• Reflection- Honest evaluation of challenges, growth, and future direction

A strong presentation is more than a summary of work; it is a story of my process, creativity, and growth. It should highlight not only the outcomes but also the thinking, reflection, and innovation that led me there. Clarity, professionalism, and originality are essential, with each element supporting both my academic progress and my future career aspirations.

Key features of a strong Professional Presentation:

• Clarity- Concise, jargon-free communication that is easy to follow.

• Structure- A clear beginning, middle, and end that tells a story.

• Engagement- Creative use of visuals, audio, and delivery to capture attention.

• Professionalism- Polished design, consistent branding, and attention to detail.

• Evidence- Concrete examples of methods, outcomes, and learning.

• Reflection- Insight into challenges, growth, and next steps.

• Innovation- Creative, original ideas that demonstrate boundary-pushing practice.

• Learning Outcomes- Direct links to techniques, industry practice, ethics, and sustainability.

By combining creativity with professionalism, this presentation will not only evidence my learning but also position me as a reflective and forward-thinking practitioner. It is an opportunity to showcase my personality, inspire confidence in my work, and prepare me for future professional contexts such as interviews, pitches, and industry networking.

Why CPD Matters
Reflecting on CPD helps me understand my strengths, identify areas for improvement, and make informed decisions about my next steps. It builds confidence, credibility, and adaptability, allowing me to align my skills with industry opportunities.

Approaching CPD

• Set goals: Short, medium, and long-term, aligned with personal values.

• Network and seek mentorship: Maintain professional relationships and learn from peers.

• Showcase my work: Keep portfolios, websites, and social media up to date.

• Gain experience: Internships, freelance work, artist development programmes.

• Continue learning: Postgraduate study, short courses, and industry certifications.

Sustainability and Professional Practice
CPD should be manageable, adaptable, and conscious of social and environmental impact. Local collaborations, digital tools, and sustainable practices strengthen both career growth and community engagement.

Next Steps
My FMP is evidence of professional growth. By reflecting on achievements and planning strategically, I can create a sustainable, industry-ready pathway for the future.

Firstly, I’ve realised I am more capable than I often give myself credit for. Imposter syndrome has cropped up more times than I can count, but the projects and challenges I’ve completed have proven to myself that I can rise to the occasion and succeed. I need to trust myself and my decisions.

Secondly, I’ve learned the value of collaboration. Even though I often work independently, engaging with peers, mentors, and industry contacts has brought fresh ideas and perspectives that have strengthened my work. Collaboration isn’t just about sharing the workload- it’s about growing creatively and professionally.

Lastly, I’ve recognised the importance of reaching out. Whether it’s asking for advice, feedback, or opportunities, taking that first step opens doors I might not have expected. Building and maintaining connections is as much a part of developing my career as the creative work itself.

These lessons are ones I will carry forward post graduation, shaping not just my next steps, but how I approach challenges, people, and opportunities in the future.

Technical issues were another obstacle. There were moments that felt overwhelming. I relied heavily on YouTube tutorials, online forums, and trial and error experimentation to overcome these problems. These experiences reminded me that technical setbacks are part of the process and that solutions are often within reach if I take the time to explore them.

Most importantly, I learned to trust the process and persevere. It would have been easy to give up at the first hurdle and get bored of sticking to the same project- but pushing through these challenges built confidence and resilience. Each problem I overcame strengthened my problem-solving skills and reinforced the value of persistence. These challenges not only shaped the project itself but also my growth as a person, preparing me for future professional and creative scenarios.

Personally, I see myself having moved into my own home, creating a stable and comfortable space that supports both my professional and creative life. Achieving this balance between career, creative projects, and personal life is important to me, ensuring I can maintain wellbeing while pursuing my goals.

Professionally, I aim to have developed a network of contacts in both education and the wider music industry, enabling collaboration, opportunities, and continued learning. By building on the skills, resilience, and experience gained during my degree, I want to be proactive in shaping a career that is flexible, fulfilling, and aligned with my values.

Above all, I want to feel confident that I am progressing in both teaching and Songbird Sounds, while remaining connected to my community and creative passions.

Collaboration has been central to my experience, showing me the value of working closely with others to develop ideas and achieve shared goals.

I’ve also recognised the importance of working on myself- reflecting on my skills, behaviours, and mindset- to grow both personally and professionally. Receiving and applying critical feedback has been invaluable, helping me refine my practice and approach challenges with resilience rather than hesitation.

Overall, my experience has reinforced that self-belief, openness to learning, and strong collaboration are key to thriving in both academic and industry contexts. These lessons will continue to shape my approach to Songbird Sounds, teaching, and future creative projects.