pdf Music for Life Report 2013/14

Music for Life Programme Report:
April 2013 – March 2014
Music for Life is generously supported by Arts Council England, The Rayne Foundation, The Sampimon
Trust, Milton Damerel Trust, S E Franklin Charitable Trust No. 3, Hyde Park Place Estate Charity, Valerie
O'Connor & Jeanette McIntosh, Marie-Louise Waldeck, George Meyer, Rothschild and several
anonymous donors.
Written by Kate Whitaker, Project Manager – Music for Life
Contributions from Dementia Facilitators and the Music for Life Management and
Musician Team
Edited by Victoria McDougall and Ursula Crickmay
This report details the development and activities of Music for Life from April 2013 to March 2014, with
specific details on its operational context, projects undertaken, outcomes and impact, and project
personnel.
© Wigmore Hall, July 2014
The Wigmore Hall Trust, registered charity number: 1024838
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CONTENTS
1.
ABOUT MUSIC FOR LIFE
p4
2.
PROGRAMME OVERVIEW IN 2013/14
p6
3.
PROJECTS
p7
4.
PROGRAMME DEVELOPMENT IN 2013/14
5.
a.
Staff Development
p8
b.
Musician Development
p10
OBSERVATIONS AND IMPACT FROM PROJECTS
a.
People living with dementia
p14
b.
Care staff and volunteers
p17
c.
Musicians
p20
6.
DIVERSIFICATION AND DISSEMINATION
p24
7.
PROJECT CHALLENGES
p27
8.
FINANCIAL INFORMATION
p28
9.
FUTURE PLANS 2014/15
p29
10. CONCLUSION
p30
--APPENDICES
MANAGEMENT AND STAFF
p31
PARTNERS, PERSONNEL AND PARTICIPANTS
p31
FURTHER INFORMATION
p33
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1. ABOUT MUSIC FOR LIFE
Music for Life is a project pioneering and developing interactive music projects for people living with
dementia. Work takes place in residential homes, hospitals and special day care centres and focuses on
people who can be isolated and disempowered as a result of the advanced stage of their dementia.
Music for Life aims to enhance the quality of life of its participants and demonstrate to care staff the
emotional, social and physical potential of people in their care.
Dementia is a disempowering and isolating condition, and Music for Life aims to enhance the quality of
life and level of care for those living with this condition through music workshops. Working in partnership
with care settings, these workshops focus predominantly on elderly people with particularly advanced
dementia, who find communication and relationship building difficult.
Music for Life raises awareness of the possibilities for increased quality of life for people in this care
sector, and offers three interlinked strands of work:
 Music improvisation workshops for people living with dementia
 Working with staff to enhance their understanding of the emotional needs of people living with
dementia as part of a person-centred approach to dementia care
 Training and developing professional musicians to work in this field
An integral part of Music for Life’s work is the provision of training opportunities for care staff. The
programme is designed to support care staff by deepening their understanding of the kind of reciprocal
relationships that are possible with people with dementia – resulting in both improved communication
skills and care practice as a result.
How does Music for Life work?
Music for Life creates a space in which people living with dementia, carers and musicians can connect,
communicate and express themselves with respect and dignity as equal members in a musical circle.
Each project involves eight workshops and debriefing sessions taking place regularly over eight weeks,
with three skilled musicians, eight people living with dementia and five members of staff taking part. On
almost all projects, a freelance or Jewish Care dementia facilitator leads on staff development. This is a
vital part of the programme which not only enables staff to take ownership of and reflect upon their work,
but also aims to ensure that Music for Life leaves a legacy in each home it visits, with the aim being that
staff are enabled to embed the person-centred approach modelled by Music for Life in their day-to-day
care practice. Each project is preceded by meetings between the project team, dementia facilitators and
care staff to ensure that the project will be well supported within each setting, as well as a rehearsal with
the musicians. Some projects include additional care staff or musician development work in addition to
the 8 sessions, and follow-up training sessions for staff teams with the Dementia Facilitators are offered
after projects have finished.
Each weekly session includes an hour set-up and planning time for project musicians, an hour-long
workshop for people living with dementia and care staff (the same group each week) and an hour of
reflection and debriefing for project musicians, the dementia trainer/facilitator and staff from the care
setting. This final hour of reflection allows staff members to work with a trainer while musicians share a
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musical debrief, as well as including a period of joint reflection and feedback with care staff and
musicians, discussing what happened in the session and enabling the learning from each week to be fed
into the rest of the project.
During a typical workshop, a trio of musicians engage with participants through musical improvisation,
encouraging people with dementia and care staff to participate in the music making using percussion,
their voices, or through inviting them to direct the music making. The musicians may also encourage
group members to participate through listening, or stillness, or by picking up on small cues from body
language, eye contact or anything else they are able to observe. Percussion instruments are provided by
Wigmore Hall for the duration of each project. The session starts and ends with a framing piece (a
recognisable theme tune devised specially for the project) and usually involves a welcome song where
each group member’s name is sung.
Each project involves the following participants:
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8 residents from the setting in which the project takes place
5 care staff from the setting in which the project takes place
3 musicians
A dementia trainer/facilitator to lead on staff development
A project manager
Choosing care setting staff and residents to participate in Music for Life
Staff members at care settings are chosen to take part in the project by senior management at those
settings, in conjunction with the dementia facilitator as appropriate. When selecting staff, senior
management are asked to consider all roles within the organisation from room-cleaners and maintenance
staff to nurses, carers, night staff and deputy managers, assessing how each individual may benefit, and
look for staff who genuinely want to participate in the project. There are usually 5 staff members from the
setting on each project.
Once participating staff have been chosen, they take an active role in choosing which 8 residents might
benefit most from inclusion in the project. Care staff meet with the project team to present a ‘long-list’ of
potential participants which is narrowed down to a short-list through discussion of the potential benefit of
the project to each individual, and how they might interact in the group. Through this, the staff members
begin to develop a commitment to the project and feel that they have real input into the proceedings
which helps with later engagement.
This project structure is successful, but also provides space to assess ways in which we can continue to
improve, ensuring that each project is properly evaluated and that the lines of communication between
partners remain open.
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2. PROGRAMME OVERVIEW IN 2013/14
PROGRAMME SUMMARY
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9 Music for Life projects were delivered at care settings across London and the South-East.
4 new musicians trained on Music for Life projects as part of a Postgraduate Certificate in Music
and Dementia.
1 Open Training Day was delivered for freelance musicians.
‘Music for Thought’, a collaborative project with The Royal Academy of Music and
Westminster Arts brought a large group of people living with dementia and their carers to
Wigmore Hall for 6 workshops and a recording, as well as visiting 2 concerts.
Professional musicians on the Music for Life team made extra visits to care settings.
Members of the Music for Life team helped to roll out pilot projects in two cities in the
Netherlands based on the practice of Music for Life.
An open workshop as part of Westminster Arts Arts of Wellbeing week engaged more than 20
people living with dementia.
Wigmore Hall celebrated 20 Years in Jewish Care with an event and concert at Jewish Care.
Wigmore Hall’s partnership with Dementia UK ended due to the closure of their training arm,
however we are delighted to announce the formalisation of our long standing relationship with
Jewish Care as our new Lead Care and Development Partner.
Music for Life was used as a case study for Skills for Care and was represented at a number of
international conferences and events focused on the field of dementia.
IN NUMBERS
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A total of 78 people living with dementia have taken part in the core Music for Life programme
this year, with more than 50 people accessing extra events including a 6-session project with the
Royal Academy of Music, and Westminster Arts, and a community workshop as part of Arts of
Wellbeing week.
More than 47 staff members and volunteers took part in the staff development programmes
and/or the set up and delivery of projects.
2 freelance dementia trainers and 3 members of the Disability and Dementia team at Jewish
Care worked closely with Wigmore Hall on projects.
2 new settings took part in the programme – Ellesmere House in Kensington and Chelsea,
and Pullen Day Centre in South Westminster.
17 Music for Life musicians were involved in the delivery of the programme and 4 newly
trained musicians also worked to deliver the project, one of whom has subsequently joined the
team.
10 freelance musicians took part in a Music for Life open training session.
Details of projects and programme development can be found in the sections below.
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3. PROJECTS
In 2013/14, 9 full Music for Life projects were delivered, plus an extra community project in collaboration
with The Royal Academy of Music and Westminster Arts. This work included two new settings in the TriBorough, and training for 4 new musicians from the University of Roehampton.
Of the 9 projects in our core programme:
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4 projects were run in partnership with Westminster Adult Services, all of which included staff
development facilitated by freelance dementia facilitators. Settings: Forrester Court, Westmead
Elderly Resource Centre, Carlton Dene, Pullen Day Centre.
3 projects were run in partnership with Jewish Care, which included staff development facilitated by
the Jewish Care Disability and Dementia team. Settings: Sam Beckman Day Centre, Ella and Ridley
Jacobs, and Lady Sarah Cohen.
1 project was run at Ellesmere House, a Care UK home in Kensington & Chelsea.
1 project was run in Edinburgh House, an independent Jewish care home in Wembley.
Project Dates
Westmead Elderly Resource Centre (Westminster)
Sam Beckman Day Centre (Jewish Care
Forrester Court (Westminster)
8 May – 26 June, 2013
30 May – 18 July, 2013
3 June – 22 July, 2013
Edinburgh House (Independent)
Carlton Dene (Westminster)
Ella and Ridley Jacobs (Jewish Care)
2 October – 20 November, 2013
14 October – 2 December, 2013
29 October – 17 December, 2013
Ellesmere House (Care UK, Kensington & Chelsea)
Lady Sarah Cohen House (Jewish Care)
Pullen Day Centre (Westminster)
5 February – 26 March, 2014
11 February – 1 April, 2014
6 March – 24 April, 2014
For full details of project settings, see Section 12: Further Information
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4. PROGRAMME DEVELOPMENT IN 2013/14
This section of the report looks at overall programme development in 2013/14 and focuses on training
and development (training and support for care staff and musician training).
In 2013/14 there was considerable focus on musician training and development, specifically through a
new partnership with the University of Roehampton. Extra opportunities were created for people living
with dementia in the community to access concerts and activities, also raising awareness of Music for
Life and of the invaluable work of carers.
2013/14 also saw the pilot of a new staff development strand within Jewish Care, a ‘buddying system’;
described below, and a return visit by a member of the musician team.
TRAINING AND SUPPORT FOR CARE STAFF
Staff development is an essential part of Music for Life, and an element for which we are grateful for the
expert input of our partner, Jewish Care, and our freelance dementia facilitators.
Supporting and working alongside care staff is integral to all workshop and evaluation sessions. Music for
Life acts as a forum for staff to develop relationships with residents, as close observation leads them to
recognise the individuality of those in their care. Care staff are encouraged to transfer their observations
into their day to day approach to care, which is often re-evaluated in light of their experience of the
project. Music for Life aims to create a non-hierarchical space for staff to explore innovative ways to
identify and acknowledge the unique qualities of those in their care. Staff development is therefore vital to
ensuring the legacy and long-term sustainability of Music for Life once a project comes to an end.
All projects in 2013/14 included staff development training where a member of the Jewish Care Disability
and Dementia team or a Dementia UK dementia facilitator worked with care staff before, during and after
the project to reflect on and develop their individual care practice. Meetings of the Dementia Facilitators’
Forum taking place throughout the year also feed into this practice. Benefits to care staff taking part in
Music for Life include:
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an opportunity to engage with residents on an equal footing
reflection on their wider working practice with expert input from a dementia specialist
care staff joining together across different departments and realising their common goals, to the
benefit of everyone in the setting
developing confidence and new skills
New developments in 2013/14
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Buddy Scheme: Ways of involving the wider staff team of a care setting in the learning that takes
place on Music for Life are always at the forefront of discussions with dementia facilitators and
care home managers. In 2013/14 a ‘buddy scheme’ was piloted in a Jewish Care setting as a way
of exploring one possible way of developing this. Participating care staff were paired with a staff
member not on the project with the idea that they would share their experience and also focus on
working with a particular resident, building on what they had learned about them during the
project. This was taken on by enthusiasm, especially by certain staff members (see case study
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below) and managers were happy about the broader engagement with the programme that
resulted. The scheme has been written up by Skills for Care as an example of good practice (see
the enclosed report, ’Sustaining the Note of Hope’, Nov 2013 ) and it is hoped that this can be
built upon in 2014/15.
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Musician Return Visit: Care home staff and residents often feel a sudden absence after a
project finishes. Although the dementia facilitator makes return visits following a project, it has
long been thought that it would be positive for a musician to return to re-engage with staff and
residents for a follow-up session. This idea was trialed in 2013/14, and while the session was
successful and involved many residents from the home, it was felt that more consideration
needed to go into what the staff want to get out of this.
Below are some comments from staff and observers about staff development in 2013/14:
‘[Discussions in the debrief] are really about skills around the person and
the ability of the staff to learn about the people they care for so that they
can interact with them in a way which meets the needs of the residents
best… and where they feel empowered and a part of how care is delivered
(not to them but truly with them).’
- Skills for Care observer on a 20
Skills for Care evaluator
‘We should engage with other staff so they can have a voice –
we should give feedback to everyone to take this forward’.
- Skills for Care observer on a 20
Staff member on a 2013/14 Westminster project
‘Members of staff on the Music for Life project were inspired to identify two
residents with dementia to go on an outing, where previously they may not
have been included. There was a sense that these staff members felt
empowered to do something different and take some chances, and their
efforts were rewarded.’
Dementia Facilitator on a 2013/14 Jewish Care project
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MUSICIAN DEVELOPMENT
Musician development is a key factor in continuing the valuable work of Music for Life. This type of work
is challenging, both on a musical and emotional level, so it is vital to provide training and support to all
musicians who undertake the work so that they can bring to it the highest levels of skill and
understanding. Caroline Welsh who was appointed Musician Development Advisor in 2011/12, continues
to make a positive impact in this role, supporting the development of practice and ongoing professional
development of the core team.
Training for musicians also enables us to further disseminate the practice of Music for Life. 2013/14 held
a number of key developments in this area, in addition to our core Musician Development Days and
meetings of the Practice Development Forum:
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A first cohort of students passed through the Postgraduate Certificate in Music and Dementia,
with Music for Life in collaboration with the University of Roehampton.
Two cohorts of Masters students in the Netherlands took part in pilot courses based on Music for
Life and delivered work in care homes in The Hague and Groningen with Music for Life musicians.
Students from the Royal Academy of Music learned from Music for Life musicians through
delivering a 6-week collaborative project at Wigmore Hall.
An open training day offered freelance musicians the opportunity to learn about working with
people living with dementia through music, and specifically about the Music for Life model.
On-going musician and development sessions
In 2013/14, two Musician Development Days took place:
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September 2013: This development day for the musician team included practice sharing
regarding use of the preparation hour, and interactive group sessions delivered by members of
the team including use of voice and practicing improvisation.
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January 2014: this development day for the wider Music for Life team involved a collaboration
with Salmagundi Films, who also work with people living with dementia. The making and sharing
of short films enabled the wider team, including dementia facilitators and management, to
reconnect and reflect on their practice. The films then served as inspiration for focused
improvisation practice in the afternoon.
‘I learned that my colleagues have similar fears and difficulties
to my own, and that we all have strengths that we keep
hidden.’-
Music for Life Musician
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Postgraduate Certificate in Music and Dementia: University of Roehampton
Four musicians took part in the pilot of a new Postgraduate Certificate with the University of
Roehampton. Forming part of the Music Psychology department and falling under the remit of the Applied
Music Research Centre, the course is divided into three modules. The first module includes taught
sessions covering research and practice using music with people living with dementia and other cognitive
impairments, and is assessed by a written literature review. The second module involves placement on a
Music for Life project with two trained Music for Life lead musicians and keeping a reflective journal with
evidence against a set of learning and professional objectives. The final module involves applying the
skills and knowledge from the first two modules anddesigning a piece of research or a project for people
living with dementia. The current students are due to finish in summer 2014.
The musicians included two recent graduates, a singer and a percussionist; a mental health professional
and bassoonist; and a professional violinist with years of experience playing at the Royal Opera House.
They all learned a lot and contributed unique skills and experience to the project, and one musician has
subsequently joined the Music for Life team. The others hope to take their new skills into their own
communities to continue the work.
For a full programme specification and curriculum, please contact learning@wigmore-hall.org.uk.
‘I have already used aspects of what I have experienced in other music
outreach work [and] feel better equipped in improvising. I have a much more
sympathetic outlook to those with cognitive disabilities and have a real
passion to learn more about how to help and enhance lives.’
2013/14 Roehampton Trainee Musician
‘Overcoming some initial anxiety was wonderful, however, the
overwhelming positive experience was witnessing transformation in the
participants and seeing the beautiful and alive personalities 'behind the
dementia. I am looking forward to sharing my experience with others.’
2013/14 Roehampton Trainee Musician
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Music for Life in the Netherlands
Following the research programme on Music for Life by the Lifelong Learning in Music research group,
based at the Hanze University of Applied Sciences (Prince Claus Conservatoire), in partnership with the
University of the Arts (Royal Conservatoire) in The Hague, curriculums have been developed to deliver
training to Masters students on community music, with a focus on working with people living with
dementia.
Following taster days, 8 weeks of lectures and intensive musical training in care homes, 9 students took
part in the first two pilot programmes in The Hague and Groningen in 2013/14. These were led by Music
for Life musicians Lucy Payne (cello) and Patrizia Meier (harp) alongside tutors from the Conservatoires,
who helped the students to deliver the programmes, based on Music for Life, in two care homes in the
Netherlands. These were attended by 20 residents and 14 care staff. The programme is being continued
in the Netherlands by tutors Philip Curtis and Renee Jonker, and it is hoped that the work in care homes
will expand over the next year.
Collaborative community project with The Royal Academy of Music and Westminster Arts
6 musicians from The Royal Academy of Music worked with Music for Life musicians Julian West and
Isabelle Adams to deliver a 6-week programme of workshops based on poetry for people living with
dementia and their carers. The students got hands-on experience of working with people living with
dementia and instruction on how to adapt their musical practice for community music situations, and
some students have subsequently applied to do more outreach projects with Wigmore Hall.
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Disseminating our practice to freelance musicians in the wider community
An ‘Open Training Day’ was held at Wigmore Hall in January 2014 and focused on dementia and personcentred practice and involved a practical exploration of the principles and ethos of Music for Life. The
session was delivered by our Musician Development Advisor and a freelance dementia facilitator. It was
attended by 10 professional and semi-professional musicians and enabled dissemination of the Music for
Life approach more widely amongst musicians who are likely to go on to work in this field. Not only was
this a response to frequent demand for training opportunities, it offered a valuable networking and
practice sharing opportunity for musicians in the field of dementia.
‘I found the [session] very informative and inspiring, and can really see
how music and music-making could make a difference to [people living
with dementia] and their families.’
Skills for Care observer on a 20
Participant, Music for Life Open Training Session
Meetings of the musicians’ Practice Development Forum
The Practice Development Forum met three times in 2013/14, and discussed a range of subjects
concerning development of the team and how the projects work. Some key areas highlighted for
development include:
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How to best develop new leaders on the project: especially salient given the extension of training
to the Netherlands.
Areas for musical development of the team and suggestions for partnership work in developing
this.
Extending the role of musician observers on projects and introducing the idea of ‘team logs’
written by teams working on projects to aid practice sharing
These topics will be embedded in training and practice over the coming year.
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5. OBSERVATIONS AND IMPACT FROM PROJECTS
‘The music transports you to another world!’
Skills for Care observer on a 20
Person living with dementia
The following sections provide a summary of the impact of project work in 2013/14, together with specific
project outcomes. Detailed notes are taken from direct observation of project sessions, staff reports, and
observations of the impact of each project on people with dementia, care staff and musicians. To
demonstrate the diversity of outcomes that result from the project, we have chosen some representative
case studies from the 2013/14 programme. These are taken from reports written by the dementia
facilitators who worked with staff members during the projects. All the names in case studies have been
changed.
PEOPLE LIVING WITH DEMENTIA
‘I think we get more medicine from this than anything they put in bottles and pills.’
Person living with dementia
For people living with dementia, the aim of each project is to create a safe space to explore, enjoy,
discover, reminisce and communicate in new ways. Participants build new relationships and learn new
things about themselves and one another by taking part in meaningful activity. Music for Life workshops
also encourage participants to express their feelings, thoughts and emotions, and support them in taking
decisions and making choices using the medium of music. Each project can hold some powerful
moments for all participants.
Prior to the projects, care staff frequently describe the people chosen to participate as demonstrating
many of the characteristics typical of those living with dementia, including depression or despair, intense
anger, grief, anxiety, fear, boredom, physical discomfort/pain, bodily tension, agitation, apathy and
withdrawal, distress, and isolation. Many of those selected to take part in projects are also recognised as
behaving in ways that have led to them being isolated by staff and service users alike. One of the aims of
the project uis to draw these participants out and aid their interaction with other people, offering means
for verbal and non-verbal communication and a route for self-expression, as well as a musical and social
experience. This often also helps staff members to relate to residents in a more understanding manner.
Key outcomes for people living with dementia
1. Developing increased confidence.
2. Building a greater sense of identity and self-worth as individuals whose thoughts, feelings and
experiences are all valuable and are validated.
3. Directing others or feeling that they are influencing situations.
4. A greater sense of belonging to a group/community, through participation in a shared experience.
5. Improvement in the quality of their day to day lives.
6. Building relationships with other residents and staff.
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Case study 1: Aiding social engagement, Mary
Evidencing all outcomes
Taken from a report by a Dementia Facilitator in a Westminster Care Setting
Mary was chosen to take part in the project because it was difficult to engage her in the social life of the
home. She was a loner, with no visitors, and asked regularly how she could get out of the home. She
was protective of her space, did not like staff to come close to her physically; was known to have strong
preferences and to be capable of expressing these. The staff hoped the sessions would help Mary to
make connections with other people in the home. Some staff members in the project were sceptical
about Mary being in the group, feeling she would not benefit and her place could be filled by someone
else who would enjoy it more.
By the end of the project, these staff members acknowledged they had been wrong as they saw her
participation grow over the weeks so that by the final session she was completely absorbed in the music
and actively participating in making pieces. Mary said on a number of occasions throughout the project
that she used to play the piano, that she played by ear, and this musicality showed clearly. She sang on
occasions and led pieces. Whereas in the early sessions she was quite sleepy and came in and out of
concentration, by the end of the project her concentration was unwavering. Pleasingly, since the project
Mary is now much more forthcoming in conversation, and willing to join in with group sessions more
regularly. So it would appear that the goal for her at the start of the project has been met and her quality
of life in the home improved. She asks to leave the home less often now.
Case study 2: Enabling and validating emotional engagement in activities, Eleanor
Evidencing outcomes 4, 5, and 6
Taken from a report by a Dementia Facilitator in a Jewish care setting
Eleanor was chosen for the project because she is very physically frail and rarely able to express herself
verbally, though staff felt she understands what others say to a degree. Staff felt that music would be
both stimulating and therapeutic for her, saying that she is a person with much emotion close to the
surface. Initially her physical frailty was an obstacle to Eleanor’s participation. When staff started bringing
her to sessions in the supportive reclining chair, however, her engagement was evident to musicians and
staff alike. There was intensity about her gaze and her facial expression showed clearly that she was
responding to the music and to being in the group. On many occasions she said a word or two, and on
others appeared to be trying to say something. Staff and musicians sometimes held an instrument in her
hand and played it with her.
At times Eleanor responded to the music with strong emotion, observers noticing tears in her eyes. She
responded with deep feeling when the singer in the group sang to her, but also watched the instruments
intently. In the debrief sessions, musicians and staff agreed strongly that being in the group was highly
significant for Eleanor, and that they were profoundly touched by her responses. Observing her
responses reminded staff that participation does not require being actively involved but can include being
emotionally present. Following the project, staff felt that Eleanor now focuses more, appears more alert
and responds to greetings from two of the participating staff members, having got to know them through
the project.
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Case study 3: Reducing anxiety, Sarah
Evidencing outcomes 1, 2, 4, and 5
Taken from a report by a Dementia Facilitator in a Jewish Care Setting
Several staff members were uncertain Sarah would benefit from the project because of her high level of
anxiety which can mean she is restless and walks out of group activities. She had also been very low in
recent months, constantly asking for her parents, though she says they do not care about her. Staff felt
that the project might be a means of getting to know her better.
Sarah appeared to enjoy the project almost immediately. She came to sessions willingly and arrived with
a broad smile. As a former teacher, she seemed to value the learning and exploration that are part of
Music for Life. There were times when the musicians were conscious of her appearing ‘lost’ and unsure
of herself, but she was constantly willing to try playing instruments and sang often. When she was given
the conductor’s baton she instantly understood how to lead a piece, and did so clearly and decisively.
She was delighted at the end of a piece she conducted and had a sense of achievement, though she
said self-deprecatingly ‘If I can do it, anyone can do it’.
At the follow-up meeting on 18 December, staff noted that Sarah is now calmer and more relaxed and
likes sitting near the new stereo system to listen to music.
Case study 4: Renewing feelings of empowerment and importance, Evan
Evidencing outcomes 2 and 3
Taken from a report by a Dementia Facilitator in an independent care setting
Evan was in his natural element in the group, having directed musical events during his working life and
been in choirs. The sessions reminded him of many of these experiences, which he would describe to the
musicians. He was very aware of others in the group and responded humorously across the circle with
comments or by singing in a particular style or with a very low voice. Mostly when staff informed him the
session was happening that day, he expressed pleasure and appeared to be looking forward to it. One
afternoon, events that had happened earlier had made him unhappy and staff could not persuade him to
join the session. The cellist went to see him with her cello, however, and he quickly changed his mind.
For a man with a background in directing artistic endeavour, living with cognitive difficulty and physical
frailty must feel disempowering. The music sessions allowed Evan to exercise leadership. He was able to
explain his background to the musicians, establishing his presence and authority. Initially he seemed
sceptical, but before long his respect was gained and he interacted with the musicians on equal terms.
He conducted on several occasions and showed flair in varying the speed and quality of the music, plus a
playfulness over ending pieces where he kept the group guessing. On one occasion the musicians said
that he had been teasing them with his conducting and he said ‘yes’, laughing at the effect. Even when
he did not have the baton, Evan moved his hand in the manner of conducting. He was open to playing
many of the instruments and also sung often. He created humour during the greeting in one session by
requesting the group call him a different name and was a very positive member of the group.
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OBSERVATIONS AND IMPACT: CARE STAFF AND VOLUNTEERS
‘Music for Life gave me the chance to observe residents closely: small
facial expressions, body posture and even a random comment made a
big difference. I now take more notice of these things than before, which
gives more importance to residents’ value, dignity and care.’
Staff member on a Westminster project
For care staff the aim of the project is to promote a deeper experience and understanding of the kind of
reciprocal relationships that are possible with people with dementia and to inspire and direct staff to build
connections in their own ways, developing their practice past the end of the project.
Music for Life provides important opportunities for staff members to take part as equal members of the
project team, reducing their defences by sharing practical and emotional experiences with the residents
they are caring for in an environment of equality, and having the opportunity to reflect on those
experiences afterwards, supported by theory, training materials, and a skilled dementia facilitator.
Staff in care homes can be poorly paid, work very long hours, and have a great deal of responsibility.
Projects such as Music for Life allow them time to reflect on and develop their work and this can have a
very positive effect on the individual members of staff, as well as the wider community of a care home.
Staff selected to participate in the project work in a variety of different roles within the settings and
included cleaners, care workers, activity co-ordinators, assistant managers and volunteers.
Key outcomes for care staff and volunteers
1. Increased confidence
2. Increased competence
3. Increased job satisfaction
4. Greater sense of team working
5. Development of an emotional vocabulary
6. Interactions with people living with dementia that are person centred and meaningful to each
individual
7. Broader understanding of the needs of people living with dementia through discovery of their
histories, interests and strengths
8. Greater interest in people living with dementia in their care, getting to know them and thinking
creatively about providing meaningful occupation
9. Developing an approach that is ‘enabling’ rather than ‘doing for’
Please find below four case studies taken from across the programme, which demonstrate examples of
the above outcomes.
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Case study 1: Learning more about the experience of living with dementia
Evidencing outcomes 1, 2, 5, 6, 7, and 8
Taken from a report by a Dementia Facilitator in a Westminster Care Setting
The debriefing sessions on this project provided a real opportunity to explore in more depth the
experience of dementia: how the ability to retain clear new memories is severely impaired as the disease
progresses, yet how events, emotions and sensory stimulation, especially music, can encourage
connection with old memories.
The sessions roused some specific memories in participants, including those of one man who
remembered learning violin at school, a woman’s memories of her mother’s singing, and another
woman’s of carnivals in her home town.
These memories, sparked by music, and in a situation of reduced stress, mostly gave pleasure and
allowed staff and musicians the opportunity to engage with residents to explore them further. This
enabled staff to understand more about the impact of sensory experience on emotions, and the links
between emotions and episodic memories, and how we need to consider really carefully what has
triggered someone’s behaviour.
Following the sessions, staff noted how these interactions had made them think more about peoples’
individual needs and personalities, and how they could better engage with them:
‘I’ll try to understand the different levels to a resident’s moods and behaviours’; I will get to know more
about people’s backgrounds – their work, history and hobbies’.
Case study 2: Taking the time to ‘be’ with people
Evidencing outcomes 2, 3, 6, 7, 8, & 9
Taken from a report by a Dementia Facilitator in a Westminster Care Setting
Staff members on this project felt strongly that participating in Music for Life had helped them to see that
they needed to take more time in their responses to people. Life and work in a care setting is busy and
care work can become very ‘task focused’ instead of person-centred. Music for Life can help staff to see
the benefits that can result from spending even just a few minutes with a person living with dementia on
their own terms; doing ‘with’ instead of doing ‘for’.
The participating staff members’ comments on what they would do differently following the project were
particularly indicative of a change in their perceptions:
‘Sometimes it is so busy that you have to get on with the nitty-gritty, but Music for Life has helped me
take a step back and see how someone is feeling before intervening.’
‘I’ll find a few minutes now and then, no matter how busy we are, to interact with residents.’
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Case study 3: A creative outlet and development opportunity for staff – Jason
Evidencing outcomes 3, 6, 8, and 9
Taken from a report by a Dementia Facilitator in a Jewish Care Setting
Jason attended both the introductory meeting and the set up meeting. His interest, curiosity and passion
for being part of the group were palpable from the start. This remained throughout the project. Jason is
one of the housekeeping staff and it was clear that he has a very detailed knowledge of many of the
resident’s backgrounds and interests, spends time with them and has relationships with many of them.
In the set up meeting, Jason explained how it was his aim every working day to have a meaningful
exchange with every resident. Jason is musical and brought his love of music to every session. His
preference and instinct to be ‘in’ the circle was obvious, but his ability to observe from the outside, was
excellent: he captured his observations through his drawings, which he shared with the group.
Jason showed great empathy and understanding of residents needs. He was able to encourage when
required; take a more passive role at other times, allowing residents to take centre stage and was hugely
impressive in his understanding of Adam, the resident with whom he chose to work, alongside his buddy
Nabeel.
Jason showed a clear appreciation of the aims of the buddy pilot scheme and worked determinedly with
Adam and with Nabeel to establish this as a good practice. He articulated his understanding of how it is
the small things, the tiny steps that can make the most difference. Jason was able to feedback to the
group his progress around the buddy relationship and its challenges. Jason’s excellent participation in the
final session was a mark of how he responded to this project and how his presence in the group (and
presumably in the home) is very bonding and positive.
Jason also demonstrated how the project could be unobtrusively filmed (and shared-even live) through
use of an ipad. Through live-streaming, staff and other residents were able to see the session from
another room.
Case study 4: Sharing practice – the Buddy system
Evidencing outcomes 4, 6, 7, 8, and 9
Taken from a report by a Dementia Facilitator in a Jewish Care Setting
Adam was selected by Jason as the resident with whom he wished to work, alongside his buddy Nabeel.
Jason gave very clear examples of how he was sharing with Nabeel some of what he was discovering
about Adam and how this was being shared in a way that both Jason and Nabeel could build on in how
they communicated with Adam and what would be of interest to him. Jason explored listening to Jewish
Radio, finding out more about Gregorian chanting through the iPad and how Nabeel could sing to Adam
in the morning. These positive examples show how sharing of knowledge from Music for Life sessions
can make real and lasting differences in the lives of staff and residents in the care settings.
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OBSERVATIONS AND IMPACT: MUSICIANS
For the musician team, the aim is to develop relevant communication and musical skills, along with
contextual knowledge of the work. This development is evaluated both during reflective sessions on
projects, as well as through our musician development programme which has been outlined above.
Feedback from musicians over the course of 2013/14 shows that Music for Life projects have enabled
opportunities for development in the areas below, which form our evaluation criteria:
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Increased understanding of the communication potential and unique personality of each person living
with dementia in the group
Development of a range of strategies for engaging each person in the group
Awareness and acknowledgement of examples of excellent person focused interaction
Greater depth of understanding of behavioural motivations and group dynamics in this context
Greater awareness and application of appropriate and sensitive response in verbal and non-verbal
communication
Increased initiative and confidence in musical leadership, including increased flexibility and
spontaneity when improvising
Enhanced understanding and application of techniques utilized in musical improvisation in this
context
Increased critical reflection of their practice and increased awareness of excellent practice
Awareness of the social, mental and physical impact of dementia on the individual, and of the broader
challenges faced in dementia care
Learning objectives of musicians are supported through each project they participate in, and
addressed through signposting to external training routes or programmes
Increased generation of ideas and development of a culture of learning
Additionally, through this feedback, project managers are able to address developments within the
programme that will enable the musician teams to feel fully empowered and supported as they continue
to deliver this work. Potential ways to respond to the needs of the project and project community are
discussed in regular project manager forums and with the Musician Development Advisor.
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Musician perspectives in 2013/14
Included below is feedback from some of the Music for Life musicians, highlighting their personal and
professional development over the year.
Taking time: working with groups of people living with advanced dementia
From feedback by a Music for Life musician
Initially we felt that this particular group of residents living with dementia was going to need a lot of input
from the musician team. The first session had been quite a happy one but very slow going and quiet,
without much input from residents.
Although things seemed to evolve slowly to start with I feel that we were allowed into some exceptionally
deep and meaningful relationships with some of the residents in this group. Maybe because we had to
take more time and ‘invest’ more at the beginning the rewards for the musicians and the team as a whole
were just wonderful.
With the great support we had from an exceptionally caring, warm and engaged staff team we had some
amazing sessions towards the end phase of this project. Things just flowed naturally from one piece to
another; connections were made individually and collectively and everything seemed to happen with such
ease. This relaxed and natural state of affairs was the basis of some deeply moving moments, which
were shared by the whole team. I can’t imagine this happening unless there had been this sense of trust
and wellbeing formed over the weeks before.
It was more than once that we sat in silence at the end of a session just sharing this moment of us all
having experienced something remarkable together. I felt humbled by having been invited into the
richness of the lives of some of the residents and I know I was not the only member of the musician team
to feel this. What a privilege to have been part of this wonderful project and wonderful team as well. What
a different outcome to my initial expectations!
Wellbeing through building personal relationships with music: Diane
From feedback by a Music for Life Musician
In session 4 it felt like we had had a real moment of connection with Diane. She had ended up
conducting a really beautiful and expressive piece that felt like it showed and communicated a lot of ‘who’
she was as well as how she was feeling that week. Interestingly she started with a very cerebral
conversation about how one would conduct in 3 or 4 and then proceeded to conduct something very
different that was incredibly expressive. She became quite moved in the piece and afterwards talked with
me about how the cello ‘spoke’ to the heart. This week, I felt that we were able to build on this.
The session began with Diane joining us early. This meant we were able to sit and chat with her, which
was a really lovely opportunity to get to know her a little more. She is obviously a very highly educated
lady and is in the earlier stages of her dementia. I think she has a real awareness of what is happening to
her and that this must be incredibly difficult for her.
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As we talked, it felt like a very ‘equal’ conversation between the four of us. She told us about her own life
and then asked about each of us. This created a really lovely atmosphere before the other residents
came in.
Throughout the session I felt that the connection I had made with Diane the week before was still there.
As I passed a drum to her, when we were passing it round the circle, she looked at me and said
something to the effect of ‘can you make music for two on a drum’ and so the two of us made a short,
explorative rhythmic piece together, supported wonderfully by the other musicians. She was really
exploring the drum and enjoying the communicative aspect of us responding to each other’s sounds.
I feel Diane has shown us quite a lot about herself through the music that we’ve created with and for her
over the last couple of weeks, and it clearly means a lot to her. After the last piece we played for her, she
said: ‘I find it interesting how music can change the way you feel, and that’s very important – it’s like first
aid!’. I look forward to seeing what emerges for her next week.
Taking learning experiences forward: personal and professional development
From feedback by a trainee musician
I have learned so much about the importance of preparing and 'not preparing' - the need to be aware of
participants experiences but not to impose the music on them. The skills of playing with others, leading,
listening, and complete focus and sensory awareness are vital to this work, as is letting yourself be
vulnerable and trusting that you will be supported by your team.
The art of improvisation can be taken into every sphere of life and I am working to inculcate this into my
whole identity; not just for music making.
I have a few orchestral concerts coming up with big solos. I am going to play all the cadenzas and solos
as if I am at the care home: really trying to communicate the music to listeners rather than having my
head lost in the sheet music. I am going to perform the solos from memory and not worry if they go wrong
note-wise but focus on the musical essence.
‘You need to be able to be in a strong and resourceful place in many
ways, whilst being able to connect to your own sense of vulnerability.
The support and strength I received from my team [were vital in
enabling this].’
Music for Life musician
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Monitoring musician team impact, beyond Music for Life
Over the course of 2013/14, the musician team have been developing their skills in line with the
evaluation criteria outlined above. Their highly developed and respected working practice is reflected by
the work they are offered and undertake for many other prestigious organisations and projects outside
Music for Life, including the following linked to music, health and wellbeing:
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Leading intergenerational arts projects for ‘Magic Me’
Running training and development sessions for ‘Live Music Now’
Leading musical workshops with mental health patients in hospitals in Oxford
Leading music programmes at Great Ormond Street Hospital with the City of London Sinfonia
Working with Glyndebourne Opera on their ‘Raise your voice’ project for people living with
dementia and their carers living in the south-east
Leading workshops for MS/Parkinsons sufferers and car accident victims with Oxford Philomusica
Giving chamber concerts for older people with the Orchestra of the Age of Enlightenment's
‘Musicians on Call’ scheme
Visiting dementia forums in the south coast area promoting music for those with dementia and
their carers
Taking Greek Folk Music to nursing homes and special needs schools
Music for Life musicians also work on community and education projects with people of all ages for
organisations including Aldeburgh Education, Birmingham Royal Ballet, Britten Sinfonia, Cadogan
Hall, Creative Futures, English Mozart Ensemble, ENO Baylis, Glyndebourne Opera, It Kikz Music
Project, Junior Trinity College, Magic Me, Music in Prisons, Open Academy, Orchestras Live, the
Royal Opera House, The Sage Gateshead, Spitalfields Music, as well as professional teaching and
performing engagements.
‘Removing the written music has
really strengthened my musicianship
and I am so thankful for that
opportunity.’
Music for Life trainee
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6. DIVERSIFICATION AND DISSEMINATION
This year we have continued to take an active role sharing best practice and promoting Music for Life’s
work through partnership work, at conferences, and through events. These and the other activities
detailed below demonstrate the ways in which the project reaches many people beyond those directly
involved in projects.
In 2013/14 activity included:
EVENTS

Delivering a workshop as part of Westminster Arts’ Art of Wellbeing Week 2013. More than 20
people living with dementia and their carers attended this one-off workshop at The Cockpit Theatre in
Church Street. The workshop included the core aspects of a Music for Life session, notably creating
improvised music in a group, developing non-verbal communication and offering opportunities for
control; whilst also allowing for the much larger group by having less individual work which might
make others feel excluded. Participants were also invited to stay for refreshments afterwards and
chat with the project team which included 3 musicians and a project manager. One couple who
attended were also subsequently involved in Music for Thought.

Music for Thought, a collaborative project with The Royal Academy of Music and Westminster Arts
brought a large group of people living with dementia and their carers to Wigmore Hall for 6 workshops
and a recording, as well as visiting 2 concerts, an instrumental programme at the Royal Academy of
Music and a song recital at Wigmore Hall. The project was based on poetry and the participants
shared poems, learned songs, and even composed their own music inspired by poetry, setting words
to music. Participants were recruited through the Westminster Memory Service and included a
diverse range of people from across the borough. Not only did this project engage with the local
community, it provided a creative mutual experience for people living with dementia to share with their
loved ones. Time for tea, coffee, and chats with the whole team before and after each session helped
the group to bond and provided a welcome social aspect to the project.

To celebrate 20 years of Music for Life in Jewish Care a special event was held at Jewish Care.
This was attended by Jewish Care staff, management, and trustees, as well as service users. The
event included presentations by Music for Life musicians and management as well as a performance
by Music for Life musicians. To mark the event, the Linda Rose award for creativity in dementia care
was created and awarded to a care worked who had worked with Day Centre service users to create
a beautiful ‘Life History Quilt’.
PRESENTATIONS
The Music for Life project team regularly attend conferences and other relevant events. The following
presentations on Music for Life have been made in 2013/14:
June 2013
Music for Life was presented and interactive workshops given at
Bristol Health and Wellbeing Conference.
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September 2013
Music for Life was presented at the International Symposium on
Music and Dementia: research and practice, Vechta, Germany.
November 2013
Music for Life was represented at the National Dementia Congress,
with dementia facilitators distributing information.
Music for Life was presented at the Association of British
Orchestras’ (ABO) Education Manager’s Conference in central
London. This was attended by Learning and Participation teams
from all across the UK.
Music for Life was presented at the Rayne Foundation Music and
Dementia Seminar, Royal College of Medicine.
January 2014
Music for Life representatives attended a roundtable event held by
Skills for Care on creativity in the care sector.
Throughout 2013/14
Music for Life representatives attended ‘Arts Enterprises in Health &
Social Care’: a series of meetings devised by Tim Joss at the Rayne
Foundation to share practice.
Music for Life representatives attended Critical Friends meetings in
the Netherlands as part of the pilot projects.
Music for Life representatives attended Arts, Disability and
Dementia meetings at Jewish Care.
In addition, the practice of Music for Life as explored by research in the Netherlands has been
disseminated through presentations and workshops at a number of international conferences and
meetings:
September 2013
Internationale Fachtagung ‘Demenz und Musik. Forschung und
Praxis’, Vechta, Germany.
Symposium DementieEnDan, Zorg Innovatie Platform, Drachten,
Netherlands.
October 2013
Music and Lifelong Learning Symposium, University of South
Carolina, Columbia.
Senioren Academie on Healthy Ageing, UMCG, Groningen,
Netherlands.
December 2013
Fonds Sluyterman van Loo, Beverwijk, Netherlands.
January 2014
Opening Hanze Active Ageing Lab, Hanze University of Applied
Sciences, Groningen, Netherlands.
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ESREA Life History & Biography Network Annual Conference, Otto
von Guericke Universität, Magdeburg, Netherlands.
March 2014
ESREA Life History & Biography Network Annual Conference
‘Before, Beside and After the Biographical Narrative’, Otto von
Guericke Universität, Magdeburg, paperpresentation Leo Delfgaauw
‘Hidden careers; elderly artists and lifelong learning’.
ESREA Life History & Biography Network Annual Conference
‘Before, Beside and After the Biographical Narrative’, Otto von
Guericke Universität, Magdeburg, paper presentation Rineke Smilde
‘While the Music Lasts… on music and dementia’.
PRESS AND PUBLICATIONS

An article on Music for Life written by Ursula Crickmay (Wigmore Hall) and Padraic Garrett
(Jewish Care) was published in the Journal of Dementia Care (attached).
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Music for Life practice was used as a case study for Skills for Care that can be found at:
http://www.skillsforcare.org.uk/Document-library/Skills/Dementia/Music-for-Life-Case-Study-v3.pdf

Article Dagblad van het Noorden, research project ‘Music and Dementia’, “Mevrouw K. danst met
haar handen’. February 15, 2014.
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Article Leeuwarder Courant, research project ‘Music and Dementia’, “Mevrouw K. danst met haar
handen’. February 21, 2014

Renshaw, P. (2013). Being - In Tune: Seeking ways of addressing isolation and dislocation
through engaging in the arts. London: Barbican and Guildhall School of Music & Drama. Section
2.7
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7. PROJECT CHALLENGES
A complex programme, Music for Life is often presented with challenges during project set-up and
delivery. Music for Life’s work often involves working in complex environments and the care sector itself
is currently undergoing a significant period of change which also brought some additional challenges to
the project this year.
END OF PARTNERSHIP WITH DEMENTIA UK
Our long term partnership with Dementia UK came to a conclusion in 2013, as the training department of
Dementia UK was closed as part of a restructuring of the charity. This brought some challenges in terms
of the expertise that they brought to the programme, it impacted on management capacity, and it brought
extra costs to Wigmore Hall which have had to be absorbed into the project for future years. Although the
news was unexpected, the staff at Dementia UK worked closely with us to ensure a smooth transition
and have supported our continuing work with the team of freelance dementia care facilitators that have
become such an integral part of the Music for Life team. Following a period of consultation, discussion,
and planning, the decision was taken to manage the project independently at Wigmore Hall, but also to
enter into a closer association with Jewish Care, now nominated as Lead Care and Development Partner
for the programme. This has already proved a fruitful relationship, with regular dialogue and closer
working informing the overall development of the project. Jewish Care has also taken on responsibility for
coordinating the dementia care facilitators forum, and the re-establishment of this group has helped to
develop practice in this area.
UNIVERSITY OF ROEHAMPTON COURSE PILOT
Our new partnership with the University of Roehampton has provided us with an exciting opportunity to
establish a new, validated, post graduate certificate in Music and Dementia, and provide training for the
students who have been part of the first year of the course. Structural changes at Roehampton have also
brought challenges however, in particular to the administration of this course, and need to be resolved
before new students can be enrolled.
WORK IN DAY CENTRES: LARGE AND SMALL GROUPS
This year Music for Life has taken place in two day care centres. Due to the different nature of this
environment, both projects encountered a degree of difficulty – mostly due to continuity of attendance
and numbers of people in the group. However, both experiences validated the flexibility of the Music for
Life’s model and provided learning experiences for the musicians, management and support team. With a
large group, ‘sections’ of the circle were divided between the musician team so as to support the
individual connections that are so vital to the work. As the project was taking place in the main room of
day centre, the support team had to work carefully to arrange the room while the musicians were
rehearsing elsewhere whilst other service users were present. When this fell into a routine the project
began to feel settled and a successful project emerged. In the second setting, attendance was very low
due to cuts to services, and the group varied each week. This can be quite a challenge, but the
musicians used it as an opportunity to work in great detail with each service user as well as with the staff
team. Both these projects underlined the advantages of working with the size of group the project
normally engages, although it was positive to note that the model could be successfully applied in
response to the needs of individual settings.
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MOVING ON FROM 2012/13
Engagement of management teams is an ongoing challenge, due to the nature of the care home
environment and the stress most staff members are under. However the project continues to meet these
challenges making it as simple as possible for senior staff to be involved. In addition, mid-project
meetings with the manager allow the project manager and dementia facilitator to share the events of the
project and discuss staff development.
Commissioning is is an evolving area, and Wigmore Hall Learning continues to maintain a close working
relationship with Westminster Adult Services. This relationship enables us to deliver Music for Life where
it is needed and stay informed and up to date on the commissioning process and NHS landscape. Music
for Life is also working with Camden and Islington NHS in Autumn 2014 to deliver a project in a
Continuing Care ward and we look forward to investigating further ways in which the project can integrate
with health services.
8. FINANCIAL INFORMATION
FINAL BUDGET 2013/14
End-of-year expenditure for Music for Life in 2013/14 is £96,126 – £1,955 less than our projected budget.
Overall Music for Life’s total income in 2013/14 was £96,227 and the £100 surplus has been carried over
to Music for Life in 2014/15.
Total expenditure for Music for Life in 2013/14 has been less than forecast in a number of programme
areas: project costs in Westminster, the Roehampton training programme, and musician development all
came in under budget. Dissemination costs, specifically the Netherland programme, were also less than
initial projected costs. However these savings were offset by the additional cost of the external
evaluation project we commissioned from University College London (UCL). The research, costed at
£21,500, will be funded over two years. £13,000 of Music for Life’s income from 2013/14 has been
allocated to meet research costs (year 1). The remaining cost will be covered by income raised in
2014/15 (year 2).
PROGRAMME FUNDING 1415 AND BEYOND
Wigmore Hall is responsible for securing full funding for the Music for Life Programme. Jewish Care
commissions its own projects (they pay for project delivery in Jewish Care settings), and all the settings
make a contribution towards costs. At present, 36% of project funding comes from care settings
themselves and partner organisations. The remaining 64% is raised from trusts, foundations and
individual donors. With 10 prjoects planned for 2014/15, programme expansion in Birmingham, and the
additional costs absorbed from Dementia UK, it is essential that we meet increased funding targets to
ensure Music for Life’s sustainability: we are working hard to build up our donor base of support for the
programme, whilst also working on the gradual expansion of the work in London and nationally.
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9. FUTURE PLANS 2014/15
2014/15 brings with it a number of exciting developments including:
RESEARCH PROJECT WITH UCL
It is increasingly important to the project to provide concrete evidence of its outcomes, and to this end,
Professor Gill Livingstone at University College London has been commissioned to complete an
evaluation of the programme that will focus in particular on the impact of the project on care staff. She
will focus on two projects taking place during April-July 2014, as well as looking at a lower cost
comparison project, which will enable the evaluation to assess the project’s value for money. The results
of this evaluation will be available in November 2014, and will inform the future development of the
programme.
GEOGRAPHICAL EXPANSION
We are developing a model for the expansion of Music for Life, based initially on a new strand of the
project in Birmingham. Working with the City of Birmingham Symphony Orchestra, and incorporating
musician training into workshop delivery, the intention is to build the foundations for the project so that
within 3 years it can become self-sufficient in this new area. Building the right care provider into the
partnership has taken longer than anticipated, with cost proving a major barrier. However, we remain
committed to this more sustainable model of expansion and currently plan to launch the programme in
Birmingham in January 2015. A full update on our expansion plans in Birmingham will be available in
autumn 2014.
In 2014/15 we are also expanding our work with Jewish Care outside London, taking the project to
Hyman Fine House in Brighton alongside the London programme. In addition, our work will continue to
inform projects based on the Music for Life model in The Netherlands. Plans are in place for a team of
musicians to visit projects in the UK to take their learning forward.
EXPLORING NEW MODELS OF WORK
We will continue to diversify practice through collaborations such as Music for Thought with Resonate
Arts and the Royal Academy of Music and expansion of the ‘Buddying’ scheme in Jewish Care.
The key development priorities for Music for Life are to make the work sustainable and to broaden its
reach and influence through training, publications, and partnerships. Specific areas of work are:
a. Building the evidence base: through a research report commissioned from UCL and a
redeveloped evaluation framework
b. Extending capacity through the expansion of the work in Birmingham, designed to become
a self-sufficient new are of activity within 3 years, and also through the ongoing
association with work built on the Music for Life model in the Netherlands
c. Testing new models of work: including workshops for people living with dementia in their
own homes, workshops in an NHS setting and extending access to the staff development
work through the ‘buddy’ model developed in Jewish Care. We will also continue to
develop other events at Wigmore Hall for people living with dementia.
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d. Diversifying the project income through increasing commissions
e. Dissemination of the Music for Life model through PGCert with Roehampton University,
and other musician training
10. CONCLUSION
Music for Life requires significant and ongoing investment to develop the programme and the skills of all
those involved. The outcome of this intensive process is a programme that has a real depth and breadth
of impact. The impact on those who take part is profound; the impact of the culture change which has
taken place in providers such as Jewish Care, aided by their work on the project, is wide reaching. We
look forward to broadening Music for life’s impact still further in the coming year through increased
projects and a substantial programme of dissemination which will enable a much wider community of
musicians, practitioners and ultimately, older people living with dementia, to benefit.
It has been an extremely busy year for Music for Life and we are hugely grateful to all our funders and
who have provided vital funding during this important development phase for the programme. Thanks to
your generous support, we have been able to expand and diversify the programme, and extend our work
in London and in other parts of the UK. We are so excited by the success of Music for Life, and the
growing interest in this area of work and will continue to invest in and nurture strong relationships with all
our delivery partners. We look forward to keeping you informed of the continued progress of the
programme – in the meantime, if you have any questions on this report please do get in touch with me.
For further information, please contact:
Victoria McDougall
Development Manager
Wigmore Hall
36 Wigmore Street,
London
W1U 2BP
T 0207 258 8227
E vmcdougall@wigmore-hall.org.uk
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APPENDICES
MANAGEMENT AND STAFF
Project management
In 2013/14, Music for Life has been project managed by Kate Whitaker at Wigmore Hall and Project
Consultant Linda Rose. Management of the project as a whole has been overseen by Ursula Crickmay,
Director of Learning at Wigmore Hall.
Management and Advisory Groups
Regular meetings of the Management and Advisory Groups address all aspects of the programme and
provide on-going support for stakeholders. The Musician Development Advisor maintains regular
communication with musicians working on the project as well as holding the Practice Development
Forum and feeding back to the management team. To support the management structure, the following
groups and forums take place throughout the year:
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An advisory group who meet 3 times per year
A Practice Development Forum for lead musicians, meeting 3-4 times per year
Dementia Staff Trainers Forum - this group meets with the management team reguarly, helping to
steer programme and staff development
PARTNERS, PERSONNEL AND PARTICIPANTS
We would like to thank all of the people who have contributed to the success of the Music for Life
programme in 2013/14:
PERSONNEL – PROJECT MUSICIANS
Patrizia Meier, lead musician/harp
Tony Robb, lead musician/flute
Caroline Welsh, lead musician/flute
Julian West, lead musician/oboe
Issy Adams, voice
Claire Bloor, flute
Liz Bradley, double bass
Rus Pearson, double bass
Mary Martin, violin
Lucy Payne, cello
Daniel Parkin, flute
Jo Lawrence, violin
Sam Glazer, cello
Kate Comberti, violin
Neil Valentine, viola
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Sarah Carvalho-Dubost, cello
Pavlos Carvalho, cello
Adrian Rowlands, oboe
Hermione Jones, cello
James Barralet, cello
Caroline Clarke, violin (Roehampton trainee)
Ruth McElvaney, voice (Roehampton trainee)
Ruairi Glasheen, percussion (Roehampton trainee)
John Wallace, bassoon (Roehampton trainee)
PERSONNEL – STAFF DEVELOPMENT PRACTITIONERS
Padraic Garrett – Service Manager, Disability and Dementia Services - Jewish Care
Gill Yentis – Dementia Practice Development Specialist, Jewish Care
Pat Virji – Dementia Practice Development Specialist, Jewish Care
Fionnuala Baiden – Disability and Dementia Development Specialist, Jewish Care
Debbie Fox – Trustee and Dementia Facilitator, Jewish Care
Dave Bell – Freelance Dementia Facilitator
Julia Burton-Jones – Freelance Dementia Facilitator
Rachel Thompson – Freelance Dementia Facilitator
Timothy Forrester-Morgan – Freelance Dementia Facilitator
MANAGEMENT
Wigmore Hall Learning
Ursula Crickmay, Director of Learning, Wigmore Hall
Kate Whitaker, Project Manager, Music for Life
Linda Rose, Founder of Music for Life and Project Consultant
Music for Life Advisory Group
Ursula Crickmay, Director of Learning, Wigmore Hall (chair)
Barbara Stephens, Former Chief Executive, Dementia UK
Marie-Hélène Osterweil, Director of Development, Wigmore Hall
Kate Whitaker, Project Manager, Music for Life
Linda Rose, Founder of Music for Life and Project Consultant
Padraic Garrett, Manager, Jewish Care Disability and Dementia Services
Paula Arnell, Senior Joint Commissioning Manager, Older People, North West London Commissioning
Support Unit
Jude Sweeting, Trainer, Coach, Development Consultant, Ladder to the Moon
Julian West. Music for Life musician representative
Caroline Welsh. Music for Life musician representative and Musician Development Advisor
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PARTNERSHIPS
Jewish Care, Padraic Garrett – Service Manager, Disability and Dementia Services
University of Roehampton – Dr Nigel Marshall, Lecturer in Music
Westminster Adult Services, Paula Arnell – North West London Commissioning Support Unit
The management partnership with Wigmore Hall and Dementia UK concluded in 2013. Wigmore Hall is
delighted to announce Jewish Care as Lead Care and Development Partner, building on their 20 year
investment in Music for Life. A new relationship with University of Roehampton was formed in 2013/14 to
deliver a Postgraduate Certificate in Music and Dementia. New partnerships are also being formed with
the City of Birmingham Symphony Orchestra. Westminster Adult Services continues as a commissioning
partner.
PATRONS
Royal Patron: HRH Princess Alexandra
FURTHER INFORMATION
PROJECT SETTINGS
Carlton Dene Elderly Resource Centre, 45 Kilburn Park Road, London, NW6 5XD
Carlton Dene ERC is a purpose built home registered for up to forty-two older people, who may suffer
with dementia, six of whom can receive respite care.
Edinburgh House, 36 Forty Avenue, Wembley, Middlesex HA9 8JP
Edinburgh House is a purpose built, independent residential care home and registered charity that
provides accommodation and care for elderly Jewish men and women. A specialist lounge for people
living with severe dementia provides care for people who may have more complex needs. A safe, warm
and friendly environment with round the clock personal and practical support is provided with the aim of
maximising independence and maintaining quality of life. All are encouraged to participate in the
everyday life of the Home by taking part in varied activities.
Ella and Ridley Jacobs House, 19 – 25 Church Road, Hendon, London, NW4 4EB
Ella and Ridley Jacobs House is a Jewish Care home located in Hendon, North West London. It offers
specialist personal care for 46 residents with dementia.
Ellesmere House, 9 Nightingale Place, London, SW10 9NG
Ellesmere House is a purpose-built care home providing nursing and residential care for older people,
including those with physical disabilities. The staff team has specialist expertise in supporting individuals
with Alzheimer’s or other forms of dementia and also offer sensitive end of life care. Ellesmere House
also offers an intermediate care rehabilitation suite for individuals who have left hospital and need
support in regaining their independence before returning to their own house.
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Forrester Court, 5 Cirencester Street, London W2 5SR
Forrester Court provides residential and nursing care for up to 110 residents. It has been registered for
up to 60 beds for people with dementia and 50 for older people. The building opened approximately 10
years ago and is purpose built. It is owned and run by Care UK and places are commissioned by
Westminster Council and the PCT.
Lady Sarah Cohen House, Asher Loftus Way, Colney Hatch Lane, London N11 3ND
Lady Sarah Cohen House is a purpose-built modern home offering nursing and dementia care to 120
older people. Each of the home’s three floors has its own manager and dedicated staff team. There are
communal lounges, a dining room and activity area on every floor, offering a more intimate environment.
Pullen Day Centre, Garden Terrace, 7- 9 Moreton Street London, SW1V 2WP
Pullen Day Centre is a care centre provided by Housing 21 under contract to Westminster Social
Services, providing day care for 15 physically frail older people a day. On Thursdays the service is
dedicated for older people with dementia, providing a service for 10 people.
Westmead Elderly Resource Centre, 4 Tavistock Road, London W11 1BA
Westmead Resource Centre is a residential home for 42 older people, most of whom have dementia,
situated in the north west of Westminster. Supported by the City of Westminster, the home has had a
commitment to providing activities and arts projects for their residents over the years and has held four
previous Music for Life projects since 2009.
HISTORY OF MUSIC FOR LIFE
Music for Life was founded by Linda Rose in 1993, in partnership with Jewish Care and an expanding
team of musicians. Wigmore Hall became involved with Music for Life in 2005, and developed a 3-year
dementia awareness training programme to equip professional musicians with the specialist skills
required to work in the challenging environment of a care setting for older people with dementia. During
this period, the potential for developing Music for Life under the management of Wigmore Hall was
explored, including the production of a detailed feasibility study in 2007, and Music for Life was formally
incorporated into Wigmore Hall in 2009. This development ensured financial and operational stability for
Music for Life and extended Wigmore Hall’s commitment to enabling broad access to chamber music. It
was also the first step in promoting and implementing the work more widely.
In 2009, a partnership was formalised between Wigmore Hall and Dementia UK (formerly for dementia),
enabling the project to extend the expert dementia training for carers beyond the base of this work within
Jewish Care, and bringing new partnership opportunities through Dementia UK’s extensive network. This
partnership came to an end in 2013 due to the closure of Dementia UK’s training arm as part of a
strategic move toward the organisation focussing on Admiral Nursing. However, Wigmore Hall remain in
close contact with Dementia Pathfinders, a new organisation set up by Barbara Stephens, formerly Chief
Executive of Dementia UK, as well as with all the Dementia Facilitators who now work for Music for Life
on a freelance basis. In 2014 Wigmore Hall formalised their ongoing close relationship with Jewish Care
to make them Lead Care and Development Partner for Music for Life.
N.B. Photographs of Music for Life workshops are strictly confidential and are for reference only. If you would like to use the images from this
report in any other way, please contact the Development Office at Wigmore Hall on Tel 0207 258 8227.
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