Annabel Williams is a world-renowned vocal coach known around the globe as the vocal coach to the stars. Since 2012, Annabel has been the head vocal coach for TV’s Britain’s Got Talent and The X Factor, making her one of the most sought-after vocal coaches in the UK.

Products and Services:

Annabel offers not only in-person vocal coaching but online too, making her branding extremely versatile and fluid throughout. From 'quickfire' 20-minute sessions to 90-minute 1-1 tutoring, she has set a clear and solidified foundation for her business growth. Her 'extras' include an exclusive, pay monthly app titled 'The Vocal Coach' which allows the artist to follow along with extensive and 'exclusive' vocal warm-ups and even personal branded merchandise.

Quality:

The quality of her work is evident from the first click on her website. With high-profile testimonials from Amanda Holden and even Rick Asley, she has evidenced her expertise and knowledge within the industry. The overall journey through her page is simple yet has an abundance of information for the students to gather their own opinions on her and her brand. From my experience on her website, I learnt a lot about her as an individual artist too, instead of a brand, which made for a much nicer and more personal experience which would attract more clientele. With professionally taken headshots and clear and fluent branding, I believe this is a highly crafted and well-thought-out operation from which I will learn and take inspiration.

Costing:

See the attached costing sheet.

I believe this cost reflects her decades of industry experience, and I would put this at the highest tier for vocal coaching based on her world-famous clientele and her geographical location in London. I admire how she has thought about the longevity and spread of her business through lower-cost options such as the 'quickfire' sessions and her bespoke app.

Key Takehomes:

Coming across this vocal coach through online analysis of the market has opened up my eyes to the highest tier of coaches and has given me insight into their business connections and strategies. As experience has evidently affected this individual's success, it has allowed me to grasp a further understanding of where I currently am and the opportunities which I should be seeking to follow the same trajectory. I admire the efforts and the clear energy that has been pushed into her career as a vocal coach, and this, from the start, has been highlighted from the first click of her website. I believe the cost is where I plan to differentiate. I would like to cater to everyone’s budget, allowing all individuals to access the same opportunities, despite socioeconomic upbringing or any cost-of-living downfalls they may be experiencing, as this aligns with my brand purpose better (Williams 2025).

As mental health and suicide are prevalent problems within our society today, I have completed an ‘Applied Suicide Intervention Skills’ course with the charity Papyrus to better my understanding of the implications of mental health issues. This provided a beautiful and thoughtful connection between my dissertation and my final major project.

Within this 2 day course, I was taken through a safety intervention skills package, which taught me how to safely talk an individual down from thoughts of harm or danger. This was not only an opportunity for me to develop my mindset but also an opportunity for me to work on my communication skills. This course was a collaborative effort and involved talking about serious subject matter with other industry professionals from different walks of life. The environment in which I was taught this crucial lesson advocated for student safety and the confidence to speak up and this is something I plan to carry with me through my teachings.

Suicide is the biggest killer of individuals under 35 years of age, therefore as a teacher aiming to surround myself with this age group, this learning is crucial. It is my responsibility as a teacher to advocate for student safety, using my power as an educator to notice critical signs of mental health decline. This aligns with my key principles and I will continue to gain CPD hours focusing on areas that directly affect my colleagues and students to inform a safer industry (Papyrus 2025).

Cheryl Porter is branded as the ‘world’s best vocal coach’. She is a formally trained

opera singer with over 20 years of experience performing in Italy, Germany, France, Mexico, England, Israel, Poland, Indonesia, Austria, Switzerland, Singapore, and America. She has surpassed over 5 million followers on her social media and over 2 billion views on her YouTube channel.

Products, Costs and Services:

On her website, she clearly and boldly markets her online masterclasses which currently sit at a rate of $100 per course. As she has a large social media presence across platforms such as TikTok, YouTube and Instagram, she also makes money from these platforms.

Quality:

One thing that I have learned from my research on this creative force is that her marketing is very eye-catching and bold which catches the attention of all audiences and

ages. Her unique approach to vocal coaching using props sets her apart from the rest of the industry. I believe I need to learn a lot of the marketing approaches she uses and work on applying more of an eye-catching theme to my social media accounts to capture the attention of future clients (Porter 2024).

“We cannot drive people; we must direct their development” – Henry Gantt, creator of the Gantt Chart (Pogue 2019).

Reviewing and Refining My Goals-

For the second half of my final major project, it is evident that reviewing and refining my project goals will be a crucial weekly step to guarantee the success of my final project.

Following my project proposal, feedback showed that I understood my proposed area of interest and what that would involve from a professional standpoint; however, the negative areas pointed out have given me a clear understanding of my shortcomings.

Reflecting on Feedback: Establishing a Starting Point

• I demonstrated a clear understanding of safeguarding and the professional responsibilities of a teacher, and engaged with various CPD-accredited courses to enhance my knowledge of best practices. Following this, it was noted to apply more critical evaluation by analysing the future of my business model and how these behaviours impact it. This could be done through more in-depth research or by analysing case studies of various safeguarding problems and how they were navigated from a business perspective.

• My preparatory work was highlighted as 'detailed and ambitious' with a good outline of practical activity through the use of test students/lessons. This has demonstrated my ability to plan and manage musical outputs in educational contexts. Future development should include more tangible evidence, submitting more evidence of lesson planning and reflection logs to showcase consistency in my developmental arc.

• Communication remained broad and creative across my project. My online portfolio remained clear and effective, but unfortunately missed out on consistency within branding. This made the overall portfolio feel unsolidified and unprofessional. Sticking to the same theme and colour schemes will help the portfolio to feel cohesive and well thought out, amplifying my professionalism and demonstrating a can-do attitude. Utilising GANTT charts will help the project feel more structured and clear in direction.

• I developed a strong rationale behind my approach to this project, applying critical self-analysis when necessary to develop myself as an industry professional. In the feedback, it is noted that referencing specific research within my findings would have strengthened the overall tone of my work. My direction with my FMP must be clear, as it is mentioned that clarification of the end goal is needed to make a clearer pathway.

When making my way through this final submission, I must understand the importance of reviewing and refining my goals so that my timeline is clear and realistic. As teaching is a strenuous industry that involves attention to detail in multiple areas, enhancing my developmental strategies within this project will allow me to save valuable time and align closer with my priorities and values. While tensions within a project can run high, it is crucial to step back and look at the bigger picture to understand why these steps are being made and their purpose. Underlining this will be paramount for my personal energy levels and dedication to this project, as under the workload, I can often lose sight of my passion and connection to the project at hand.

When listening to Kaya's words of encouragement within this chapter, I connected with her words around the grading and marking systems. Following my initial portfolio, I often looked for what the examiner of the work would want to see rather than connecting with my own ideas and creative process. This resulted in my work feeling rather robotic and impersonal, leaving my brain tainted with negative self-talk and anxieties around the starting line of this final work. Looking back on my efforts and feedback in each module, my academic growth is clear and consistent. Reminding myself of this throughout the final stretch will be instrumental in maintaining confidence and staying connected to the heart of my project.

Evidence is highlighted in yellow throughout the Padlet.

Within my WBO300 module, I carefully highlighted my initial pathway to a protected career:

Teachers in the United Kingdom work within a legal framework (National Education Union 2023). We must provide a safe, personal, and inclusive environment for all students and colleagues to thrive and grow. To support the safe and professional industry-standard execution of my vocal pedagogy project, I will implement the following:

Consent:

• Student Consent Forms: A formal agreement signed by the student will outline the expectations, boundaries and session structure, importantly highlighting my level as a student and a teacher. It will be crucial to include confidentiality, mutual industry working respect and health disclosure here to ensure all areas are covered.

• Mentor Agreement: Much like my consent process with my students, I believe it is important to provide a consent form for my mentors within the industry. Highlighting my role, boundaries and support structure will provide a clear pathway for both myself and my mentor to grow respect and trust.

• Third-Party Platform Use Agreements: If I use online teaching platforms, apps, or software, I will review and follow the terms of service and privacy policies to ensure correct use.

• Younger Students: It is crucial to note that younger students under the age of 18 cannot make informed consent- all teachings MUST comply with the legal frameworks of education, and consent forms must be provided to parents where necessary and stored safely.

  
  

Copyright:

While the vast majority of my project involves teaching methodology rather than the creation of original work, all creative content produced (such as teaching materials and student compositions) will be protected:

• UK Copyright Law: Any original material I create will be protected under UK copyright law. Keeping proof of creation is imperative here, keeping a clear track of the composition date and time.

• Permission for Use: I will seek consent from the students to share their works on social media platforms.

• Material Licensing: If I incorporate third-party resources (e.g., warm-up tracks, and sheet music), I will ensure they are either royalty-free or licensed for educational use.

  
  

Intellectual Property:

• Teaching Resources: Custom lesson plans, teaching frameworks, informational take-home packs, and custom vocal pathways.

  I will ensure my logo is on each document and store it according to my company's data storage policy.

• Brand Identity: As I am planning to build a professional teaching business, any branding items (e.g. logo, name) will be unique and new to the market. I will ensure that my company is registered and complies with the government policies and procedures.

Has anything changed from WB0300 to WBO302?

I believe my outline demonstrates LO4 Enterprise by my efforts to understand and work towards the current industry models and standards of teaching. I closely align with my project plan and believe it will protect me in several areas.

2.2- Contracts

The use of student consent forms falls under this category, with the outline of the sessions being clearly outlined before the student decides to sign. Transparency is crucial here, as relationships are formed within the contractual process, and it is important to maintain these healthy working relationships and adhere to boundaries. While ownership of teaching and materials will belong to me only (and will be watermarked), the use of videography and photography will garner a shared ownership. Within my lessons, I will provide information to my students about copyright and their original materials, as it is important to ensure they understand the importance of protecting these valuable assets. There is no monetary gain from this project for either the teacher or the student, and my business withholds protective factors (e.g. public liability, equipment cover, legal fees) covered within the Musicians Union membership.

Reflecting on pedagogy frameworks and current standing research, it is evident that there is a significant gap in knowledge amongst vocal students, particularly centring around the fundamentals of laryngeal operation and longstanding health. Mental health is crucial to note here, with research by the 'Institute of Music Physiology and Musicians’ Medicine' importantly highlighting that up to 50% of beginner music students suffer from playing-related pain and/or anxiety, simply caused by stress and overuse (Rosset et al. 2022). Significant gaps in the knowledge of teachers are crucial to reflect on here too, with health and technique-related information being taught as standard fact (often personal opinions and techniques of teachers taught as industry standard). An example of this could be encouraging students to 'coat their vocal cords' using honey, teas and water-based concoctions. While biologically impossible, a staggering number of vocal students believe this to be functionally true, which leads to damage and the further spread of misinformation with a longer-term health impact.

Researching, adapting and applying- analysing industry models and creating a new framework for the market-

Mental health-friendly lessons-

When googling 'mental health-friendly singing lessons', the first five results simply share the benefits of singing on mental health, and aren't from mental health-inclusive singing schools that cater to individuals who are struggling. There’s a niche for singing lessons that are designed for people experiencing anxiety, depression, trauma recovery, or other mental health issues, yet very few singing teachers brand themselves that way. With my branding, I plan to create an inclusive and safe teaching framework that takes into account the serious issues the music industry may pose to a starting student's mental health, as well as that of an advanced student. It is crucial to take into account the language used within this search. Even if there are singing schools that provide this specialist service, they are not utilising the correct wording and are framing their teachings under the umbrella term 'inclusive' without specialising in why they are and how they provide this service.

There is a clear disconnect between mental health and music teaching, especially when considering musical therapies.

Working with neurodiversity-

Traditional teaching methods may not be effective and engaging for students with diverse learning needs, and it is important to highlight this within branding. Finding the niche with neurodiversity care and singing lessons, I will create an environment where vocal development is combined with approaches that respect different ways of communication, learning and processing. This style of teaching will require a patient, thoughtful and multi-faceted approach. Removing unnecessary barriers such as rigid lesson formats and overwhelming performance pressure will help the neurodiverse student to explore music in their own safe and adaptable way. Neuodiversity-friendly teaching is not about lowering the expectations, but is about moulding and shaping the teaching to best suit the student and their needs. This specialist focus will set me apart from other brands due to its enhanced accessibility, making vocal development accessible and enjoyable for every voice (Lee 2025).

Including further health-based services such as laryngeal massage and diaphragm massage-

When researching singing teaching businesses in my area, there are none that offer further holistic therapy practices such as laryngeal and diaphragm massage. Laryngeal and vocal massage releases the muscle tension related to voice production, neck, jaw, tongue, larynx and diaphragm, which helps the vocal cords produce a better resonance and articulation sound. This can treat partial or total voice loss, loss of vocal range, muscle tension dysphonia, decreased vocal stamina, and vocal fatigue increased recovery time after performing or presenting (Victoria 2024). By

providing this service within my teaching business, it not only allows me to unlock a strong niche product that will amplify my business in comparison to others in the area, but will also help support and uplift my branding- science-informed vocal teaching. Within the business production process, I have learned the importance of finding a 'safety net' within the product list, ensuring that the business not only caters to a large client base, but has a strong and targetable product that you can fall back on if others aren't providing the necessary financial return. Laryngeal massage, provided mostly by massage and sports therapists and not singing teachers, holds the price point of around £50 to £98 and doesn't exceed a one-hour timeframe (Elite Performance Physio Manchester 2025). This would not only provide me with an enhanced financial turnover and stability, but could also unlock a varied and vast client list.

In 2025, there are various challenges that we have to address within the music industry:

• Environmental sustainability- with the rise of artists touring, it is vital to understand the detrimental impact this can have on serious issues such as climate change and environmental safety. Not just directly pointing at the artists and teams involved, this also falls on the consumers' shoulders, factoring in aspects such as travel, energy use, and production waste. Various famous bands and artists from around the world such as 'Coldplay' and 'Bring Me The Horizon' are tackling this world-leading issue by evaluating the scope of practice, and using innovative practices to eliminate the environmental pressures that result from large-scale touring (Nicholls 2022). Partnering with touring and live performance, music merchandise is an integral component of an artist’s revenue stream and an expressive way to strengthen and foster important fan connections. However, conventional methods of merchandise production and distribution contribute largely to environmental degradation (Yellowbrick 2023).

  
  

• The digital era- energy use, data privacy and online exploitation of creatives- Online data poses a sustainability threat due to the energy consumption of data centres, the production of electronic waste and the impact of data storage and transmission. It is highlighted that data growth worldwide is accelerating at a rate that exceeds the capacity of preventive sustainability models, contributing to the growing carbon footprint of businesses worldwide (Jackson et al. 2024).

  With the rise of the digital era and artists building their careers online, this poses a large threat to the online exploitation of creatives. With AI models on the incline and consumers searching for quick, accessible and cheaper ways of consuming art, musical artists are being undervalued and are receiving little to no compensation for their works.

  With the influx of streaming models, algorithmic content structures and platform monetisation terms and conditions, there is added pressure for artists both creatively, legally and financially. High volume, low-value content is pushed to be the main marketing technique, which results in added sustainability risk for data holding centres. These key factors not only erode cultural and creative innovative practices but also compromise the mental health of creatives.

• Inequality in access, representation, and compensation - The musical industry is becoming increasingly difficult to access as a professional, with sustainable technologies, learning materials, and funding being obstructed. With royalty payments and compensation for musical performances/ works being limited and of an insufficient amount for the rising costs of long-term business sustainability, it is becoming unfeasible for artists to continue working. There is a constant surge of underrepresentation in the media for music as a 'job', and within education, music is classed as an insignificant aspect of the curriculum, resulting in longstanding negative connotations regarding music within the general public. 

Looking to the future- a sustainability plan

Within my career, I plan to do my part to build a sustainable and inclusive musical landscape in which everyone has a place, the environment is protected, and accessibility to various teaching materials, innovative programs and technologies is signposted. Teaching is the fundamental part of my musical portfolio career; however, I believe I have multiple streams of access to enhance my career and provide sustainability for the long term. 

Please find attached a sustainability planner for 2025 onwards.

Within this chapter, I have learned some valuable lessons that I can use to shape my final project to be one that centres around the idea of building meaningful and fair working relationships. Building my professional toolkit, I will ensure that work is fairly assigned, focusing on healthy skill mixes. I will also work on my language and communication, ensuring that I avoid conflict by listening intently to other individuals' ideas and thought processes, enhancing my empathy skills in the process. I took deep inspiration from Jason Rungapadiachy's words within this chapter, especially relating to our power within a team, even if we remain silent or do not have certain knowledge that others within the team possess.

"It's game-changing when you start to understand you have way more impact than the words you just say."

- Jason Rungapadiachy

I believe that collaboration delves deeper than our skills, our communication within a team, and what we are bringing to the table. Within these collaborative settings, it is evident that significant power is held within the idea of showing up and actively consenting to the process of working within a team. As we live in a digital age, it is easy to get trapped 'behind the screen' and lose touch with interpersonal communication. By consenting to collaborative work, we are actively saying 'yes' to the building of foundations that will support long-lasting, healthy careers where face-to-face communication and working environments foster creativity and meaningful projects rather than hostility and anxiety. When we say 'yes' to collaboration, we are consenting to significant growth that expands in many different areas of our professional lives.

Each individual within the industry has complex and unique skills, thought patterns, and language styles, and this should be celebrated, built upon, and nurtured- not limited.

In 2023, I had just started working my job at the NHS as a 'Theatre Support Worker', completely new to the job and was introduced to the possibility of a life without music being my day job, which was devastating. Trying to push through with your passion while spending every day witnessing extremely traumatic events and major life-changing surgeries is extremely hard.

Pushing through with my music, I had just released my debut EP 'On My Mind', was actively recording and collaborating in Manchester, but was craving something more, something academic. Through a quick Google search and some online research, I found you, Waterbear!

When I attended college in Manchester at 'Access Creative', I had the traumatic experience of losing my friend to suicide during the global pandemic and developed trauma. The idea of completing a degree never crossed my mind; I would've never thought about it because music felt strange without my friend there with me. Something at Waterbear felt different, whether it was the bright branding or the concept of doing my degree while juggling a full-time job (the Ella way to do things... all at once and full on!). I had my interview, and all of a sudden, I was an online degree student. Everything felt right.

I remember the feeling of writing in the first discussion message page, feeling scared and vulnerable. Soon, the teachings, support from staff and the positivity melted away so much anxiety for me, and I felt that I could succeed alongside some brilliant, talented minds.

While completing this degree, I went from a couple of hundred streams on Spotify to tens of thousands, I signed some of my work to a prolific and large recording label, had my songs played at festivals and found my true calling and passion for teaching. In September, I will start a master's degree in 'Vocal Pedagogy', while still working as an online student! I feel that my confidence has grown, and I am finally starting to advocate for myself as a musical professional.

Despite the good, there have also been a lot of tears, a lot of panic and a lot of episodes of wanting to give up. Myself and i'm sure a lot of other professionals working on this course will have had some negative experiences working within the industry. I think the hardest part of this course was having to battle a certain level of imposter syndrome, my perfectionism problem, and going on a journey to stop comparing my successes to other musical professionals. The music industry is undeniably tough, but its roots are not negative-they are filled with love and magic.

I have learned that collaboration opens up beautiful opportunities, that rest is extremely important, and that going back and revising why you started music in the first place will be the reason you don't give up. Many times, mostly in the middle of the night when I was completing my work, I had to revisit the younger Ella, who always dreamed of being a singer. The Ella that would write some quite cringeworthy compositions but felt a burning love for every single one, as if each song was a star that helped light up the darkest of skies.

Going forward, I will do everything in my power to ensure the next generation of singers has the same opportunities I had growing up. I will advocate for an inclusive and safe industry, and I will do my part to help nurture each and every beautiful and important idea that I come across with my students.

Thank you, Waterbear, for showing me that I can do anything if I put my mind to it. Thank you for believing in me, even when I didn't believe in myself.

Congratulations, class of 2025! We did it!

• When earning over £1,000 from self-employment in one tax year, it is a requirement to register with the government body for tax purposes. If this is not complied with, it could result in fines or backdated payments that might harm my business.

• Not only does registering for tax build professional credibility and demonstrate that you are serious, but it can also help you access financial supports, such as grants and funding, which are unavailable to about your work unregistered businesses.

• Registering for tax purposes encourages sustainable and long-term success and promotes good financial habits around income and expenses.

What stage am I at, and what professional business title will I obtain?-

I am currently in the early foundational days of learning, building and growing within my business's frameworks and am evaluating the current scope of industrial models and how they adapt and change. While I am taking on behind-the-scenes placements, these are unpaid. I am in the investment stage of business set-up, investing in my knowledge, experience and my place within the musical industry. I believe I am not yet ready to start professionally registering my business for tax purposes, as I am not yet seen as a viable business within my community. I have under 10 students, I am still ironing out major details, and in comparison to other similar businesses in my area, I am still an 'undiscovered' piece of my local musical 'puzzle'. I am not expected to make £1,000 within this current tax year, and I estimate my earnings to sit around £500 based on current data and statistics.

I believe that a sole trader business will work best for me as I am working independently and want a framework that provides fewer fixed overheads while giving me complete control. This option allows for increased flexibility, with no corporation tax or annual accounts means less paperwork and filing requirements. As I will be studying at the master's level post graduation, this means more time can be spent with my students, on the build-up of my business and my educational level. Becoming a sole trader also provides me with privacy in comparison to other models, such as limited companies, as my private financial information will not be accessible to the public on Companies House. This limits potential safety issues (e.g. a member of the public being aware of your business address and how much you make, resulting in robberies and fraudulent activity) (Caroola 2024).

My 'best practices' to develop a strong portfolio:

Practice consistency with branding and aesthetic look- It is important that I work with a consistent branding package that ensures the portfolio remains cohesive and professional throughout. Following feedback from my previous assignment portfolios, this is something that I have struggled to demonstrate in the past, which has led my portfolio to look unprofessional and hasn't demonstrated my true values, vision and aesthetic. Following LO5, I will use colour schemes, font and visual work to create a portfolio that demonstrates my ability to work with creativity in a range of different contexts [LO5].

High quality over quantity- I will demonstrate and reflect on best industry professional practice by focusing on the quality of my research, evidence and output, reflecting on other commercial portfolios and how they have been executed to an industry standard [LO4]. Showcasing my creative breadth, I will demonstrate my versatility and creativity throughout the portfolio, executing the work to a high standard.

Organisation- Organisation is crucial in developing a strong and successful portfolio, both academically and professionally. Learning from my previous portfolio work and adapting further, I will continue to present my portfolio in a clear and organised manner, sectioning each topic clearly. I will innovate by sectioning my work by themes (such as a section for vocal health research, teaching practice and professional development), breaking through the traditional portfolio barriers of chronological order grouping. This allows the reader further accessibility and ease of access, allowing them to find relevant examples tied to specific focus areas [LO5].

Visual and creative media usage- I will provide strong visual and creative media to support my professional portfolio, pairing each artefact (lesson plans, performance videos, research articles) with reflective pieces sharing the lessons learned and how the evidence relates to long-term professional growth. This helps the project portfolio to showcase and reflect growth, amplifying professionalism.

Engaging 'storytelling' approach- Instead of mindlessly listing achievements, I will structure my portfolio as a journey narrative, highlighting my progression through challenges, actions, results, and reflections. This approach adds nuance and a human touch, making the portfolio more memorable for the reader [LO2, L04, LO5].

Ending with a 'call to action'- It is important to not only demonstrate the work you have completed, but also the next steps you will undertake to build growth in the future. Highlighting the 'next steps' will demonstrate a growth mindset, showing academic leaders and industry professionals that your work will exceed the portfolio limits and that there is a consistent aim to build experience.

My portfolio ideas-

• I will maintain the neutral colour schemes of beige, earthy greens, blues, greys and whites to symbolise a professional and clear mindset. Neutral colours aim to give the eyes a rest, increasing readability and access. When utilised correctly, they can also help important media and visual stimuli (videos, artwork) to stand out. Neutral tones feel familiar and common, which may help the reader connect with the portfolio further (Remboldt 2023).

• I will utilise watermarking and my logo design where necessary. This will help to showcase my branding while neatly bringing the portfolio to life. reinforcing a consistent professional identity and subtly reminding the reader of my branding. This approach will showcase my brand while adding visual cohesion and sophistication to the portfolio.

• I will showcase a professional journey in a clear and accessible way, utilising hyperlinks to create a free-flowing portfolio.

• Utilising an online platform that is accessible for everyone will increase accessibility while decreasing the need for printing from PDF format, an environmentally friendly and sustainable strategy [LO9].

'Best practices' and important presentation skills I will utilise-

Letting my personality shine through and limiting the professional output where possible- Within this chapter, it was highlighted that as musical creatives, it is important to let our personalities shine through in the presentation and limit the 'overprofessional' and 'robotic' structured presentation style. I believe that in the past presentation that I developed in the last module, I was overly professional, which led the presentation to feel too structured, overly wordy and missed out key information and personality. For this presentation, I will make a further conscious effort to let my personality, unique thought process and creative mindset shine through while maintaining an academically sound and professional piece of work. Creative and appropriate humour and personal experiences can be used to draw the audience into the project's presentation, ensuring that they feel a part of the journey. This will maintain the attention of the audience.

Engagement- I will keep the audience engaged by adopting storytelling techniques, using a variety of media, visual editing and interactive elements to create a dynamic project presentation. This will help create a memorable experience and will lead to enhanced connection and interest in my project.

Three key learning moments in my degree-

1- It’s okay to reach out for help

Throughout the completion of this degree, I have found some aspects incredibly challenging as a growing artist and as an individual navigating the complex pathway of changing careers. Reaching out for help has been instrumental for my confidence, and this has taught me that many professionals also struggle with navigating the musical industry.

2- Staying organised and planning is essential

As I have tried to maintain both my musical career and a day-to-day job working within emergency surgery, planning and organisation were crucial in developing positive outcomes throughout my degree. I often faced challenges with balancing both my personal and professional life, and found a large section of this degree hard to navigate due to my schedule being very full. By utilising systems such as GANTT charts and week-by-week schedules, I was able to develop stricter approaches to working towards goals and deadlines. Going forward, I will utilise various methods and continue developing GANTT charts to correctly navigate bigger projects.

3- Fit outside the box

While completing my degree, especially at the level 6 section, I developed an understanding that 'fitting outside the box' is the best approach. With the development of my business strategy, I have learned the importance of maintaining personality and developing unique assets, as this makes you shine and stand out from the rest!

A challenge that I have overcome in the development of my final project has been my mental battle with confidence. As my project involved a lot of social networking, communication and performance, I had to revise my approaches and work on my confidence skills throughout to ensure that the delivery of my product and purpose was clear and expressed professionalism. As teaching can sometimes be extremely performative, I had to reassess my relationship with performance and look towards outside sources to gain key skills. I found that working closely with my mentor facilitated clear and consistent growth.

To gather primary research to support my vocology and anatomy revision practices, I have had the experience of observing a direct Laryngoscopy with biopsy in an ENT-based operating theatre. This experience was paramount to the development of my educational framework and was a pivotal experience within my journey as a vocal practitioner. While not an accessible or 'typical' opportunity for vocal coaches and musical practitioners, I regularly work within the theatre department aside from my musical career and have had the important backing of various ENT doctors and speech therapists in my research journey, combining voice coaching and healthcare. This underlines and showcases the extensive efforts made to apply a healthcare-based approach to my framework, highlighting the industrial need for more research on these specialist yet 'niche' approaches.

The primary purpose of a laryngoscopy is to observe and examine the larynx and vocal cords. A laryngoscopy allows the medical professional to check for various respiration and phonation movement patterns in the cords, viewing how they join together and if there are any inconsistencies in the tissue. This procedure can also allow the doctor to diagnose or rule out any disease or cancerous/ non-cancerous growths. A laryngoscopy can be used for treatment, such as removing nodules or foreign bodies (objects accidentally inhaled) (Peterson et al. 2020).

There are many different types of observation; however, my experience centred around a direct laryngoscopy, which utilises a rigid lighted scope to view the anatomy with the naked eye.

Supporting the surgeons, I helped maintain the sterile environment by cleaning and prepping the operating room and provided them with the necessary equipment. When the rigid scope was placed in the mouth, I found the visualisation of the vocal tissue fascinating, as the cords appeared to be very delicate and soft. As this particular patient had a growth that needed removing, the surgeon removed this through the scope using long surgical scissors, and the specimen was potted for inspection within the pathology department.

While the Year 4 curriculum on the Farrington website suggests that the Year 4 musical lessons should centre around Ukulele only, combining my workshop with wellbeing PSHE (personal, social, health and economic) allowed for increased time saving and unlocked important conversations and connections within the classroom.

Forming themselves into smaller groups, we had a discussion around the importance of music, poetry and creative output, highlighting the need for these creative approaches within mental health care. I used sentences such as ‘when you feel upset, writing a song can help you process your emotions’ to carry through my message of mental health safety, all while maintaining appropriate themes and language for children. Beautiful opportunities for communicative growth emerged from this discussion, and many felt confident to share their own stories with singing, songwriting and even creative journaling. In comparison to my more rigid suicide first aid experiences, this wellbeing chat felt like a ‘breath of fresh air’ as the atmosphere remained positive and welcoming throughout, amplifying the team building across all of the individual friendship groups.

Providing them with scrap papers and a pencil, I encouraged each student to draw, create or write- not placing any emphasis on songwriting. I gave them creative prompts such as demonstrating my own original material and the techniques used within (rhyme, melody, repetition) and helped them to see this in an unstructured light, promoting safety and confidence.

While the day was sunny, we utilised different areas of the school to refresh the lesson, and we gathered around the outdoor stage to perform or simply talk about our work.

As a trainee, the most surprising and significant observation was the links between all of the students. While other lessons tend to promote uncertainty and rifts in the environment, my musical workshop remained calm and peaceful throughout. Every student maintained high levels of professionalism, and there were significant supportive networks between each individual, which amplified the atmosphere and led people to feel confident in the performance of their work.

While an amateur and simple approach, the storytelling capabilities of the students were outstanding. Storytelling themes in their compositions tied beautifully to the mentions of wellbeing, safety and support, with honourable mentions of friendship, love, dancing, holidays and connection running throughout each student's work. This demonstrated that the mental health and well-being themes within the workshop carried through successfully.

To summarise, this workshop clearly developed connections within the school team, promoting important factors such as respect, patience and mutual trust. The mental health ties to this workshop allowed me to utilise my specialist training while also providing me with evidence to support my brand's mental health safety pledge.