(a)S23.(6.1)The Why Part 1

(b)S23 (6.1) 3 Potential areas of development.

Chapter 2

To-do 1.6 Vision Mission and values

Chapter 3

Create Road map and timeline To do (3.6)(a)

Jira Gannt chart(b)

Chapter 4

To do 4.6 draft and introduction and rationale

Chapter 5

To do literature review(5.6)

Chapter 6

To do How to be credible and your academic voice(6.7)

Chapter 7

Whats your method and doing the experiment

To do (7.8)Plan your methodology and set up your primary research

Chapter 8

(a)To do organise your data

(b)To do findings

(c) Research how to present qualitative data

Chapter 9

To do conclusion 9.4

Chapter 10

Edit your research project. 10.5

I am a musician because it helps me feel to write lyrics and music calms my soul and improves my mental health. Another reason is because I need to connect with something and it's a natural thing inside me that is almost running through my blood. To create music is not a want it is a need.

Why do you do the exact thing you do?

The reason why I do the exact thing I do is because if I didn't I wouldn't be able to function day by day,it gives me hope and keeps me centered

Why do you work in the area of the industry that you do?

I work in the Industry that I do because there is so many possibilities out there to explore and be part of a larger picture that is bigger than all of us, like a blank canvas it can become anything, and that is what fuels my excitement every day that it starts small, and can become anything with the right choices and skill level.

One of the needs that being a musician fulfils is the ability to connect with another person on a personal level.

To make that person laugh, feel sad and cry because the music has touched their hearts and their souls.

A need to feel as though you are a part of something and to help you feel at peace with the connection that you create. The opposite can occur if the need is not met correctly.

1. Start a record company

Q Why can't everyone have a chance at recognition?

Q. What effect does age have on being successful?

Q what skills do I need to start this venture, what are the pros and cons

Q What financial assistance will I need?

2. Set up an entertainment business

Q. What are the different levels of entertainment in the Industry and how can I help the ones who struggle to get the right gigs and contacts?

What qualities do I need and skills to set up this venture

Q.is there a market to become an agent and if so on what platform

3. Set up as an artist in an acoustic guitar capacity and earn a good living doing this.

   Q What are the barriers that may stop me from doing this i.e. will I be received differently in different venues and why.

4. what are the financial implications?

5. How do I get gigs that pay the right money?

6. What are my income and expenditure?

7. Can a make a profit?

8. What are the tax implications

9. What are good and bad practices for this project

10. How can I engage the audience succesfully

    
    

To set up a record Label to help struggling talented artists.

Mission statement

To help talented artists showcase their original music on various music platforms and to facilitate their version of success.

1.Struggling artists who need help to the next step of tier career

2.Artists who have been entertaining in clubs ad pubs

3.Artist over 50 who have missed their chance of recognition.

Value Statement

Have high standards

Put the needs of the artist at the forefront of the business

foster fun

help artists hit their full potential

Communicate effectively

Value statement 2

Encourage a fun and close working relationship with artists and customers.

Put the needs of the artists above all else.

helps Struggling artists by focusing on their full potential

works hard to demonstrate high standards in all aspects of the business

Helping struggling artists is the foundation of our purpose.

Obstacles

Finances in setting up costs

Time management finding time to promote and find new talent.

studio costs

Skill level as a producer.

Problem

Artists who have worked in the entertainment industry in pubs clubs and over a certain age don't seem to get the recognition they deserve.

Question

What is the reason why artists of a certain age and artists who work in the Industry are not successful enough to earn a living.

What can I do to bring this to fruition?

Schiebel, C.D. (2023). 50 Best Acoustic Cover Songs to Play in a Bar (2025 With Tabs & Videos) - Guitar Lobby. [online] Guitar Lobby. Available at: https://www.guitarlobby.com/best-acoustic-cover-songs-to-play-in-a-bar/ [Accessed 5 Feb. 2025].

‌The Guitar Junky (2021). 15 Best Acoustic Cover Songs to Play in a Bar. [online] Guitar Junky. Available at: https://theguitarjunky.com/best-acoustic-cover-songs-to-play-in-a-bar/ [Accessed 5 Feb. 2025].

Ante Kozulić (2024). Acoustic solo gigs: The ultimate guide - Easy Music Gig. [online] Easy Music Gig. Available at: https://easymusicgig.com/acoustic-solo-gigs-the-ultimate-guide/#the-show [Accessed 5 Feb. 2025].

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Stage Prescence

‌Andrews, T. (2023). How to Have Good Stage Presence as a Singer: 8 Tips to Engage Your Audience. [online] Tai Andrews Instrumentals. Available at: https://taiandrewsinstrumentals.com/how-to-have-good-stage-presence-as-a-singer/ [Accessed 5 Feb. 2025].

Stage, B.O. (2024). How to have good stage presence while performing acts. [online] @allevents_in. Available at: https://buddyonstage.com/blog/how-to-have-good-stage-presence-while-performing-acts.

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‌Equipment needed

Mann, J. (n.d.). 14 Live Sound Equipment List For Singers in 2024 [Must Read]. [online] BecomeSingers.com. Available at: https://becomesingers.com/on-stage/live-sound-equipment-for-singers.

Jason Stallworth. (2020). Equipment Needed for Live Acoustic Performance. [online] Available at: https://www.jasonstallworth.com/equipment-for-live-acoustic-performance/.

Setting up a business

GOV.UK (2023). Set up a Business. [online] GOV.UK. Available at: https://www.gov.uk/set-up-business.

Team, T.S. (2023). Business Tax: Rules For SMEs I Startups.co.uk. [online] Startups.co.uk. Available at: https://startups.co.uk/tax/business-tax-rules/.

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‌Agencies

Alive Network (2024). Acoustic Singer Guitarists For Hire - Alive Network. [online] Alive Network Entertainment Agency. Available at: https://www.alivenetwork.com/bandsearch.asp?style=Acoustic%20Singer%20Guitarists [Accessed 5 Feb. 2025].

‌

‌Function Central. (2025). Singer guitarists. [online] Available at: https://www.functioncentral.co.uk/singer-guitarists [Accessed 5 Feb. 2025].

Growing a fan base

rok.kroflic@gmail.com (2021). The Best Tools For Building Fan Engagement for Music Artists - HyperTribe. [online] HyperTribe. Available at: https://hypertribe.com/post/the-best-tools-for-building-fan-engagement-for-music-artists/ [Accessed 5 Feb. 2025].

‌

‌dittomusic.com. (n.d.). How to Build a Fanbase from Scratch in 2023. [online] Available at: https://dittomusic.com/en/blog/how-to-build-a-fanbase-from-scratch/.

Website Creation

‌Schäferhoff, N. (2025). How to Make a Website: The Complete, No-Code Beginner’s Guide. [online] WordPress.com News. Available at: https://wordpress.com/blog/2025/01/29/how-to-make-a-website/ [Accessed 5 Feb. 2025].

‌

Elementor. (2025). How To Create A Website From Scratch: 5 Steps Guide (2025). [online] Available at: https://elementor.com/blog/how-to-make-a-website/ [Accessed 5 Feb. 2025].

Social media

‌Aggarwal, S. (2024). Boost Your Social Media Engagement With Influencer Collaborations. Powr.io. [online] doi:https://doi.org/10060559/1582196081823.

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Morris, R. (2025). 10 Ways To Dominate On Social Media In 2025. Forbes. [online] 31 Jan. Available at: https://www.forbes.com/councils/forbesagencycouncil/2025/01/31/10-ways-to-dominate-on-social-media-in-2025/.

How to maintain a successful business

Nic Faitos (2023). Six Tips For Keeping A Successful Business Going. Forbes. [online] 2 Jun. Available at: https://www.forbes.com/councils/forbesbusinesscouncil/2023/06/02/six-tips-for-keeping-a-successful-business-going/.

‌

‌StartUp Mindset (2023). StartUp Mindset. [online] StartUp Mindset. Available at: https://startupmindset.com/7-key-actions-that-will-help-your-business-thrive/ [Accessed 5 Feb. 2025].

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‌Proportion of covers to originals in a show

TalkBass.com. (2019). Covers to Originals Ratio In Your Total Playing? [online] Available at: https://www.talkbass.com/threads/covers-to-originals-ratio-in-your-total-playing.1389153/ [Accessed 5 Feb. 2025].

Nazir, F.N.M. 2024. The sound debate: Pros and cons of original vs. Acoustic music versions. Culturess. [Online]. [Accessed 5 February 2025]. Available from: https://culturess.com/posts/the-sound-debate-pros-and-cons-of-original-vs-acoustic-music-versions-01hzkdhsh5bf.

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To do (7.8)Plan your methodology and set up your primary research

Kiczkowiak, M. (2022a) How to present Qualitive data, YouTube. Available at: https://www.youtube.com/watch?v=CZZSuEQchLY (Accessed: 17 March 2025).

The genres that performers prefer to play for their audiences, suggests that the highest category was pop music at 25% of the vote and an equal split of 12.5% each between harp music, acoustic rap, singer songwriter, acoustic soul ,indie and chamber pop.

The preferred venue of  performer suggests that Pubs and grass roots are most being the likeliest places for a performance to occur with 25% of the vote each, and an equal split of 12.5% between festivals, small intimate, community spaces and small theatres.

The demographic that most performers like to perform to suggests that it is adults over 30 plus/and a varied audience with 25% each of the vote, with equal split of 12.5% for multicultural healing paths, teenagers,20”s to 60’s age group and 21plus.

The methods of Good practice when connecting with an audience as a performer, shows that the most important aspect of connection is eye contact at 44% with the other 5 categories been equal in percentage of 11,1% including patter, humour, speaking between songs, through songwriting and dynamic with pauses.

In reference to the most effective method for connecting with the audience was identified in the data as being a mixture of “other” and telling endearing stories at 37% each, with 25% focusing on good eye contact.

In reference to good practice for the most effective method for connecting with the audience, where “other” was selected for connecting with an audience, shows that there is an equal split of all categories at 20% each  including not using eye contact, telling them an honest story ,share you are nervous and reading the room 4/5 with 1/5 suggesting that a combination of techniques is used.

Using good practice whilst  Structuring a set list shows 28% of performers use “something really engaging”, “vary between tempo” and equal split between others as  “mixing it up”, “starting with acapella”, “linking the narrative”, “starting and ending with a popular song” and “giving clear intent of the sets”.

For methods of good practice that performers have used in the past for structuring a set list including the reasons why they have or have not worked in the past with the audience, shows two categories of 28.6% of “not talking too much between sets” and not applicable, with three categories of 14.3% stating that “backing tracks didn’t work”, “being super chilled” worked an “telling too many jokes” didn’t work.

The ethical issues of good practice that are adhered to from a performers perspective are that 71% believe and follow good ethical practices, whereas 29% do not.

Of the 71% of performers that adhered to good practice ethical practice, The data shows  that there is an equal perspective of adherence, and an equal mix at 16.7% of not swearing, picking a good choice of songs, “being a role model”, “not using strobe lights”, “being aware of your audience” and “being well mannered”.

On ensuring that the venue adheres to good practice, the data reveals that there are  three equal more important aspects of the performers role at 20.4% each as “health and safety checks”, “riders” and “asking the correct questions” beforehand there and three negative views of “I don’t get involved”  “not being able to control the venue”, and it’s not my job at 10.2% 8.2% and 10.2% respectively.

A description of situations where good practice was not followed at a venue whilst performing, suggests an even split of opinions at 16.7 % each ranging from “untidy cables” , “candles near stage”, “health and safety issues”, “beer on the stage”  and “being drunk”. One opinion states they could not think of any issues where good practice was not followed whilst performing.

Opinions of good practice,  in reference to the 5 top attributes of a good venue, 48% state that clarity of communication is the highest attribute and an equal split of opinions between the other 4 categories of 12.9% with “organisation”, “not sure” ,”safety security”, “inviting and welcoming to all.”

in reference to  legal  obligations of good practice, the biggest amount stated at 38.5% is “I don’t run this type of business”, but with an equal split between the other 4 categories focusing on “money”, “insurance”, “prompt invoicing”,  “being friendly” and “not sure how to answer this.”15.4% each.

In reference to the most effective promotion used by this type of business being an acoustic guitarist ,singer songwriter is “other” at 43% Facebook at 29% ,with “Instagram” and “word of mouth” at 14% each.

In reference to the most effective promotion used in the business of acoustic guitarist singer songwriter, where “other” was stated.50% of the votes was for community groups, “not applicable” and “all of  the above” at 25%

In reference to ensuring  good ethical practice with promotion  there is an equal split in opinions of 16.7% with “by getting the promotion verified by other people first”, “researching” “demographics”, “environmentally friendly” “flyers and “proof reading”, and I do it myself.”

The data on the most effective way to ensure good ethical practice is equal in measure at 20% “using qualitive and quantitate data” ,“being in touch with their management”, “checking” and “research”, with one party stating, “not sure.”

The data show that only 14 percent of participants work for a talent agency and 86 percent do not

In reference to ethical challenges of good practice where “other” was stated, whilst  working when  with an agent. 50 % stated that the “management focused too much on short term monies and did not look at the longer-term opportunities that could have led to bigger things”, and 50% stated they did not see or have not experienced any ethical challenges.

In reference to the most effective method of good practice when working work with an agent there was an even split  of 16.7% stating “clear communication”, “transparency”, “contracts”, “honesty and open book policy”, ‘respect and 2/6 stating “don’t know or n/a.”

 (400-450) words currently (558)

In conclusion of the facts presented to me through primary and secondary research I believe that

There is a lot of good practice within the music Industry ,but there is also bad practice in all 5 areas of the audience ,the venue, financial promotion and working alongside of an agent. I believe that good practice is fostered by parties working together by  achieving the same goal of good practices. I believe that good practice with the audience makes a more safe and enjoyable performance because of good practices, good practice on the venues part ensures safety of the audience and performer, the financial obligations that a performer has to adhere to ensures good practice from staying within the law and to guard against financial ruin.  believe that working with an agent can be a worthwhile activity that is sound and financially viable ,however this can be a one-sided affair with only finances, being the most important aspect  leaving the performer at the mercy of the agent.

My opinions of what I found have enlightened my knowledge as well have given me an insight into the internal working of good and bad practice. I believe that all performers have different ways of putting the performance together, sets etc, good and bad practice, but I also believe there are many similarities in good practice that performers  adhere to. I did not expect to see that blarzay attitude on ethnical practices towards the venue and also comments of “its not my problem, but from the comments I have seen it has been worthwhile experiment and I had some really good honest Reponses to my questions.

My research project did hold a value of knowledge, knowledge to go forward and alter, change or maintain good practice, that all can benefit new or the more experienced performer.

I think it would have been useful to have more respondents in this project ,however I think I received a good spread of answers to conduct a conclusion.

My main question has been answered throughout this paper because the five sections the audience, the venue, finances ,promotion and working with an agent have all been thoroughly challenged and researched.

My thoughts have changed because I didn’t realise the depth of intricacy that a performers perception would be and also the detailed aspects ,documents and ethical challenges they need to go through to achieve a great performance.

I think the next research I would undertake would be directed more at and an expansion of how certain types of music make people feel from an emotional sense 1 being no emotion to 10 being very emotional and the reasons connected to that answer.

If I was to do this research again .I would probably make the questions more even, ask more questions about the financial aspect of the project and also do different methods, including the survey questions already used.

I will definitely incorporate the good practice I have into my own business, because it  will help me stay safe, stay legal and provide great entertainment.

My main prediction is that because we are in an era of blame and claim, I strongly believe that there will be an increased need for good practices.

I don’t believe there is any need for further investigation as the survey I have conducted serves the purpose for what it was intended