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.

^{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

• Self-Reflection on Level 5

• SWOT Analysis (L01)

• Mind-Map for Final Project

• SMART Targets (L01)

• Initial Research Notes

• Development Opportunity (L01)

• Practice Diary

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.

• 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

• 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}

• 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

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

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.

• 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.

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

• 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

• 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

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

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

• 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)

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)

(Loveless, 2024) 

• 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)

  
  

• 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)

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.

• 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.

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)

Lyrical themes (not yet written/recorded)

Held you

Moving

In Stillness

Still moving

But you were not there

You weren't there.

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

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)

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)

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

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 

• The Songwriters Forum

• SoundBetter (In process)

• Ivor Academy

• Mastering.com

• Songwriting Camps (TBA)

• 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)

• 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

including: Patreon, Disco, Bridge Audio, Reverb Nation,

Bandzoogle, Soundcloud, Songtradr

I concluded DISCO is the best option for me for managing my Sync music catalog and professionally accepted for links for Music Supervisors.

I selected BANDZOOGLE to publish my portfolio of music on as I can add my own domain, it is competitively priced, I'm able to brand the themes and colours to my own and can include at least 5 tracks.

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.

• 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)

• 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

• 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)

• 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)

  
  

• 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)

• 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)

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

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

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.

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 

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

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

• 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,

  
  

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.

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.

^{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}

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.

Each Padlet entry has been categorised and supporting evidence added.

I've also completed a large amount of research for WB0301 'What impact do Lyrics have on the Emotional Responses to Melancholic Music' ^{(Thomas-Humphreys, 2025)}

All research has shaped my decisions and informed my planning for my Final Major Project in particular the importance of Relationship Building, Collaborating with Performing Artists, the value of emotion in Music for Sync and the industry standards I need to factor in as I progress.

Primary Research has included:

• WB0301 Emotion in Music Focus Group

• Track Analysis of emotional songs

• Track Analysis of successful sync songs (2019-24)

• Initial Case Studies (still in progress)

• Small Focus Group for my own Tracks feedback

Secondary Research included:

• WB0301 Literature Review on Music & Emotion

• Competitors Analysis

• Brand development

• Websites and Music Catalog Reviews

• Sync Songs & Songwriting Critical Listening

• Relevant Legal including copyright research

• Relevant Professional Standards including Formats, Metadata & clearance

• Reviewing Ethical & Organisational considerations

• Budget costings & research

  
  

Plus ongoing self development and Personal Standards for own songwriting & music.

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.

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.

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.

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

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

• Versatile for non exclusive

• Lyrics are relatable and also universal

• Genre/Style - genres all count but some are more in demand than others with Indie Songwriter being high at the moment (Sync reference)

• unreleased songs are in demand. so only add to Streaming sites at point of placement

• Be authentic to myself with my own sonic fingerprint

• Lean in more strongly to the emotional side of my usic

Best practice is to

• create instrumental version that stands on its own without the lyrics

• create a variety of full mix, stems and instrumentals

• Clean lyrics for more opportunities than explicit

• Track all my sync pitches using my own song tracking spreadsheet

• Pitch professionally and using professional links such as DISCO

I plan to create my sync strategy once I have music nearer to being ready for pitching toward the endo f WB0301

• Territory: Where will their production be shown (UK only, Worldwide)

• Term: The length of time the agreed licences lasts

• Media: TV, Film, Festival, Online

• Exclusivity: Non-Exclusive means the track/song can be licensed elsewhere too. Exclusive means it cant for the duration of the term.

A larger the geographical territory, media means a greater potential audience so potentially a higher fee.

Musicians Union provided the template agreement to use as a specimen but also recommend legal advice.

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.

• 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

Some have been prompted, others written to brief, others in collaboration and others inspired by an emotion.

I can now use these sketches for a Focus Group Feedback alongside my research to select suitable ones to develop for my Final Major Project.

AI - ChatGPT

AI - AcrobatAI

Track Analysis & Music Theory

HookTheory https://www.hooktheory.com/

Spotify https://open.spotify.com/

Ultimate Guitar https://www.ultimate-guitar.com/

Research Forms

Google docs.google.com/forms

Typeform Typeform.com

Music Tools

Music ToolKit themusicindustrytoolkit.com

Music Libraries apmmusic.com/libraries

Sync Report https://www.thesyncreport.com/

Creative Tools

Canva canva.com

Veed veed.io

Loom Loom.io

Splice Splice.com

Psychology of Music, 34(4), 511-534. https://doi.org/10.1177/0305735606067168

Barrett, F. S., Grimm, K. J., Robins, R. W., Wildschut, T., Sedikides, C., & Janata, P. (2010).

Music-evoked nostalgia: Affect, memory, and personality. Emotion, 10(3), 390–403

Bandcamp, 2025. Artist Guide. Available at: https://bandcamp.com/guide (Accessed 14 March 2025)

Belfi, Amy (2018) “How Music Influences Our Emotions, Feelings, and Behaviors” TedX

MissouriS&T Available on [YOUTUBE] https://www.youtube.com/watch?v=jPDKi-i618U Accessed

February 2025

Ditto Music, 2025. Apply for Music Funding: Artist Grants & Support in 2025. Available at: https://dittomusic.com/en/blog/latest-music-funding-and-grants-opportunities [Accessed 21 Apr. 2025].

Doyle, K & Evans, G. (2024)’’50 best sad songs’ Time Out Magazine. September 2024. Available at:

https://www.timeout.com/music/50-best-sad-songs Accessed 20th February, 2025

Egerman, H. (2015) "Emotional Responses to Music" TedXGhent Talk. [YOUTUBE] available at https://www.youtube.com/watch?v=kzFgoaZ9-VQ (Accessed 12th February 2025)

Goyal, C (2024) ‘Music in Lyrics, How they Work Together’ Deliver My Tune. Available at

https://blog.delivermytune.com/music-in-lyrics/ Accessed 25 February 2025

Juslin, P. N. (2019) Musical Emotions Explained: Unlocking the Secrets of Musical Affect. Oxford:

Oxford University Press.

Juslin P. N., Laukka P. (2003). Communication of emotions in vocal expression and music

performance: Different channels, same code? Psychological Bulletin, 129(5), 770–814.

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

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It fits with my Sync and Emotion research and I'd run out of time previosly to further develop.

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.

^{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

bridgemusic.tv

bandzoogle.com

discosounds.com

epidemicsound.com

musicbed.com

marmosetmusic.com​

patreon.com

reverbnation.com

songtradr.com

soundcloud.com

• Booked a 1-1 to clarify summative expectations

• Work in planned bite size chunks

• More study buddy time