709520

research-article2017
POM0010.1177/0305735617709520Psychology of MusicBaker et al.

Article

Psychology of Music

Contextual factors and wellbeing

2018, Vol. 46(2) 266­–280
© The Author(s) 2017
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DOI: 10.1177/0305735617709520
https://doi.org/10.1177/0305735617709520
of an artist-led group songwriting journals.sagepub.com/home/pom

program with young people

Felicity A. Baker, Neryl Jeanneret

and Anna Clarkson

Abstract
Group-based therapeutic songwriting has been applied to enhance the wellbeing of young people.
Artist-led songwriting experiences have potential to enhance wellbeing of young people but this
has not yet been fully explored. Understanding how this activity impacts wellbeing can advance
practice. This study offers a music therapy perspective on artist-led group songwriting, highlighting
contextual factors that impacted wellbeing outcomes. A two-day artist-led songwriting program
with 85 young people was observed. Video footage, ethnographic field notes and artefacts were
thematically analysed and produced themes relating to contextual factors and wellbeing outcomes.
Three overarching themes resulted: young people feel safe; young people have fun; young people
push beyond boundaries. Contextual factors (sub-themes) included direct and honest feedback, high-
energy rituals and emphasis on artistic excellence. Insights into circumstances permitting wellbeing
outcomes for young people were obtained. Contextual factors helped shape the songwriting
environment by promoting fun, safety and pushing boundaries. This environment enabled young
people to engage in the program and benefit from its wellbeing-focused activities. Findings can inform
music therapy and other professions using group songwriting with young people to foster wellbeing.

Keywords
artist-led programs, community music, music education, music therapy, regional communities,
songwriting, wellbeing, young people

Adolescence is a critical developmental period that can impact young people’s psychosocial
wellbeing (World Health Organization, 2016). Music is a significant part of young people’s lives
and engaging with music can benefit their psychosocial development (Hallam, 2015). Given
music’s relevance to young people and its applicability as a health-promoting agent (R.

University of Melbourne, Australia

Corresponding author:
Felicity A. Baker, University of Melbourne, 151 Barry St, Carlton, Melbourne, VIC 3000, Australia.
Email: felicity.baker@unimelb.edu.au
Baker et al. 267

MacDonald, Kreutz, & Mitchell, 2012), there is growing interest in music-based interventions
to promote wellbeing for young people (Saarikallio, Gold, & McFerran, 2015). Despite the
increased interest, qualified music educators or music therapists primarily deliver the majority
of music-based interventions. Little is known about the role of artist-led music-based programs
for young people working with school children in a community setting.
Songwriting is a music-based activity increasingly employed with young people to target
wellbeing goals (Baker, 2016). It is defined as the process of composing lyrics and music within
a therapeutic relationship to address individual or group objectives (Wigram & Baker, 2005).
The versatility of songwriting means both musical and non-musical skills, such as writing lyr-
ics, can be practised (Baker, 2015). Furthermore, group songwriting offers young people oppor-
tunities to practise teamwork skills, and specific group-based wellbeing measures such as
connectedness can be enhanced (Baker, 2015).
Songwriting can also be a safe means of self-expression and identity formation for young
people, as it typically employs a structured, organised process, promoting security and contain-
ment (Derrington, 2005). Studies of group songwriting programs for young people have dem-
onstrated positive wellbeing outcomes in music education (Barrett & Bond, 2015), community
music (Clennon & Boehm, 2014) and music therapy (McFerran & Teggelove, 2011).

Contextual factors impacting wellbeing outcomes

Facilitating group songwriting programs with a wellbeing focus involves considering the poten-
tial impact of diverse factors on wellbeing outcomes. Increased understanding of the contex-
tual factors is necessary to maximise potential positive outcomes for individuals taking part in
programs (Baker, 2015). These contextual factors may include facilitation style (S. MacDonald
& Viega, 2012), group features (Baker, 2013a) and equipment (Paukste & Harris, 2015).
However, as we alluded to earlier, these studies all used songwriting as delivered by music thera-
pists and health professionals rather than artists.
A series of recent studies, drawing on clinical practice of 45 experienced music thera-
pists, has enhanced understanding of the contextual factors relevant to songwriting
(Baker, 2013a, 2013b, 2014). For example, perceived safety of the physical space was an
environmental factor found to enable the songwriting process (Baker, 2013b), and group
size and homogeneity (Baker, 2013a) and sociocultural and socioeconomic backgrounds
of group members (Baker, 2014) impacted cohesion and group conflict. Research specific
to group songwriting with young people provides valuable insights into contextual factors
that inform the present study (e.g. Crouch, Robertson, & Fagan, 2011). To date, however,
this research has not given explicit consideration to the potential impact of contextual fac-
tors on wellbeing outcomes.
McFerran and Teggelove’s (2011) investigation of a group songwriting program for young
people utilised songwriting methods. The authors highlighted the importance of high-quality,
participant songs created with professional sound equipment. Although not explicitly stated,
the high quality of participant songs appears to have been associated with wellbeing outcomes
such as increased pride and mastery. Likewise, Smith’s (2012) songwriting program featured
high-quality song recordings which were arranged and recorded with the accessible, low-cost
GarageBand digital music production suite. The use of accessible resources may have increased
the scope for sustainability beyond the program environment, thereby offering potential for
longer-term wellbeing outcomes.
Professional recording equipment was also a significant contextual factor in two artist-
led community songwriting programs reporting positive wellbeing outcomes for young
268 Psychology of Music 46(2)

people (Crouch et al., 2011; Paukste & Harris, 2015). However, clear causal inferences can-
not be drawn.
The involvement of well-established professionals in the field is also a contributing factor to
the overall positive outcomes of such programs. The SongMakers program positions high
school music students as co-creators and producers of popular music (rather than just con-
sumers) by employing high-profile songwriters and producers with international recording
experience in schools for two-day workshops to write and produce new music with students.
This program is having a positive impact not only on students’ music knowledge skill develop-
ment, and understanding of the contemporary music industry, but on engagement, confidence
in learning, and self-efficacy (Hunter, Broad, & Jeanneret, 2016).
While this professional qualification of the facilitators and resources is clearly important, it
is the active involvement of the participants that is a key to the success of these programs.
Recent research by Martin et al. (2013) with 643 students in 15 Australian schools brings a
quantitative analysis to further support that active participation by students as creators in the
arts – not just as observers or audience members – yields stronger positive effects. Similarly,
Hallam’s (2015) meta-analysis suggests that music programs, which have an impact on chil-
dren and young people, share common characteristics. They are “highly interactive”; provide
opportunities for developing new skills and performing; develop interpersonal bonds and soli-
darity in pursuing shared goals; provide ongoing intensity and frequency of contact; develop
mutual respect; and offer recognition and rewards for excellence.
Facilitation approaches during songwriting programs also contribute to wellbeing outcomes
in school-based contexts. Barrett and Bond (2015) found the provision of clear structure, posi-
tive feedback to participants, and ensuring that participants were having fun is needed. The
creation of a playful, fun and chaotic atmosphere was associated with positive wellbeing out-
comes in an after-school care program where songwriting was an integral part of the youth’s
activities (S. MacDonald & Viega, 2012).
In another education-based songwriting initiative, McGillen and McMillan (2005) assert that
success was ascribed to a facilitation style characterised by the absence of clear authority fig-
ures. Teachers and students were described as companions in learning, and the authors placed
high value on establishing positive socio-musical relationships, arguing that this would promote
positive program outcomes. This positive impact of flexible teacher/leader roles, including that
of facilitator and co-creator, has been well-documented throughout the music education litera-
ture, both in school and community settings (Green, 2008; Jeanneret & Wilson, 2016; Philpott,
2016; Wright & Finney, 2010). Similarly, the pedagogy advocated for community music leaders
also espouses flexible strategies and facilitation modes (Higgins & Bartleet, 2012).
Drawing from music therapy, music education, and artist-led community music pro-
grams, songwriting appears to contribute to wellbeing in young people. While environmen-
tal, sociocultural, group, and facilitation style factors appear in various forms as an
incidental finding in the aforementioned studies, what is clearly absent from the research
literature is knowledge about the contextual factors of a community-based songwriting pro-
gram for young people that is facilitated by artists. This study sought to address this gap in
the literature. Gaining a better understanding of this relationship is required to increase
awareness of how songwriting impacts wellbeing, an important aspect of improving prac-
tice and maximising wellbeing potential.
The study was conducted within the framework of a collaborative partnership between
music therapy, music education and community music professionals. Within this setting, the
authors had the opportunity to gain a music therapy-informed perspective of a large-scale art-
ist-led (Musomagic) songwriting program for young people. The community-based program
Baker et al. 269

was led by two professional songwriters with support from a choreographer, videographer, and
music producer but had significant overlap with existing models of therapeutic songwriting
practice (Baker, 2015).
Although the Musomagic program was not explicitly wellbeing-focused, from an ongoing
collaboration with the authors, it was hypothesised that positive wellbeing outcomes such as
increased connectedness, self-confidence and competence would be observed. With this in
mind, we drew on focused ethnography (Knoblauch, 2005) to identify the contextual factors
present during an artist-led songwriting program with young people in a regional area of
Victoria, Australia.

Method
Design
We drew on focused ethnography (Knoblauch, 2005) to address our research aim because the
method is most suited to observing phenomena emerging within a specific context, particularly
when the researchers are interested in a specific phenomenon they expect will be performed in
some way (Knoblauch, 2005), and allows for intensive data collection on this specific phenom-
enon (Higginbottom, Pillay, & Boadu, 2013). Ethnography is best suited to the roles of the
researchers who were present during the two-day events as both observer (outsider perspective)
and participants/assistants (insider perspective; Geertz, 1973/2000). Baker and Clarkson have
expert knowledge of models of songwriting within therapeutic contexts and Jeanneret has
expert knowledge of music education and the impact of artist-led practices on young people.
Ethical clearance was obtained from The University of Melbourne’s Human Research Ethics
Committee, approval number 1545824.1.

Research context: Musomagic program

The two-day program took place at a community hall in regional Violet Town, Victoria.
Ninety young people from local communities attended; one of the program leaders reported
that many of the young participants faced barriers to participation in mainstream (educa-
tion) settings. Songwriting activities comprised preparatory games and tasks, creating the
lyrics, rehearsing, recording and performing the song and accompanying dance, and plan-
ning/recording a video for the song.
The songwriting process in the Musomagic program aligns broadly with “strategic song-
writing” principles from music therapy practice (Baker, 2015); for example, music and the lyr-
ics of the chorus were created in advance and participants helped create verse lyrics to complete
the song. The chorus lyrics and topic of the song in this instance was on the broad notion of
addiction (drugs, phone usage, toxic relationships), which was identified by their local commu-
nity as being an issue for young people.
An ethnographic analysis of the Musomagic program by Baker, Jeanneret, and Kelaher (in
press) found that the program promotes youth involvement through modelling, scaffolding, and
providing expert-driven support. Rituals such as having a rotating team leader wearing a
Musomagic cap, group hugs, and activities interspersed by free dance activities break down bar-
riers between the participants and foster whole-group cohesion. The program is inherently
resource-oriented, encouraging participants to become consciously aware of their own resources
that they bring to the songwriting experience. Finally, the program has activist intentions and is
ecological in that it attempts to build bridges between the youth and their community.
270 Psychology of Music 46(2)

Participants
Songwriting participants in this study were young residents from three Shire Councils in
regional Victoria – Strathbogie, Mansfield, and Mitchell. While no specific inclusion crite-
ria were set, the participants were loosely selected for participation in the Musomagic pro-
gram because they were identified by youth workers or school staff as not fitting well within
their school culture or were home schooled and had a need for engagement in a program
that might boost self-esteem and enhance social connectedness with others. Songwriting
participants who consented to participate were 85 young people (male = 28, aged 12–19
years, M = 13.94, SD = 2.17) enrolled in the program. Artist leaders (n = 2) headed the
program, supported by a videographer, choreographer, music producer, 13 youth mentors
(alumni of previous programs), 4 youth workers, and 3 school teachers. Artist leaders led
program delivery, directing activities, engaging the youth in the songwriting process, and
coordinating all adult and youth assistants. The videographer, choreographer, and music
producer assisted the artist leaders in facilitating the music video creation by filming young
people (for the video), teaching them a choreographed routine for the chorus, and record-
ing the young people singing their self-composed lyrics (including recording some solos).
The youth mentors played an important role in helping to facilitate small working groups
of youth. Having completed the program a number of times in previous years, they were
able to assist the young people in creating lyrics; a peer-to-peer approach. The youth work-
ers (from local councils) and school teachers who recruited participants and accompanied
them on the program were there to support the Musomagic team and young people, as
directed by the artist leaders.

Data collection
Data were collected intensively over two days and comprised of several sources. Audiovisual
footage of the entire program was captured by two cameras; one positioned to capture the
whole group’s activities and a second GoPro camera mounted on Baker’s head was used to
capture individual and small group activities. Other data sources included field notes and arte-
facts such as YouTube video of the group’s song and song lyrics. The field notes captured were
thorough and meaningful personal observations made by the authors which also served as an
audit trail, increasing trustworthiness and validity of research findings (Ratcliff, 2003).

Data analysis
An inductive approach to the data was consistent with the exploratory research questions,
and entailed an iterative process of analysis and interpretation (Braun & Clarke, 2006).
This process was also informed by guidelines for using video data (Derry et al., 2010), prin-
ciples of focused ethnography (Stige & Ledger, 2016) and thematic analysis procedures
(Braun & Clarke, 2006).
Given the intensive use of data collection (video footage), transcriptions of data were neces-
sary to facilitate meaningful analysis (Higginbottom et al., 2013). This was a time-consuming
activity, involving approximately 12 hours of footage; therefore data was transcribed in sum-
marised form (i.e. not verbatim, other than selected pivotal moments). The entire corpus of
footage was used in the data analysis process to facilitate the desired macro-level perspective of
emerging wellbeing outcomes and associated contextual factors over the course of the two-day
program. Authors Baker and Clarkson independently watched the videos multiple times to
Baker et al. 271

Table 1.  Themes describing salient characteristics of the program.

Overarching theme Sub-theme Contextual factor category

(Contextual factor)
1. Young people feel safe Clear, age-appropriate language Facilitation
Direct and honest feedback Facilitation
  High-energy rituals* Program design/Facilitation
  Humorous facilitation* Facilitation
  Practical demonstrations Facilitation
  Rules clearly articulated Facilitation
  Large group size* Program design
2. Young people have fun Fast-paced activities Facilitation
  High-energy rituals* Facilitation
  Humorous facilitation* Facilitation
  Large group size* Program design
  Motivational music Equipment and resources
  Professional sound equipment Equipment and resources
3. Young people “push beyond” Emphasis on artistic excellence Facilitation
boundaries High expectations articulated Facilitation
Leaders model participation Facilitation
Leaders show belief in young Facilitation
people

*Indicates sub-themes common to more than one overarching theme.

familiarise themselves with the artist leaders’ actions and the subsequent responses of the
youth, whereby an individual or group of individuals responded in a way that demonstrated a
change in their participation, engagement or general behaviour. These “pivotal moments” were
identified and marked up on the video. Authors Baker and Clarkson discussed and agreed on
these before a final selection was made for transcription and analysis.
Clarkson took responsibility for the subsequent analysis. The first step of the data analysis
process was transcribing video data (pivotal moments) into written form. Brief dialogues were
included to represent participant voices (Stige, 2005). Although a factually-driven process, this
inevitably involved some interpretation due to application of a subjective lens (Braun & Clarke,
2006). Given the large body of video data (> 12 hours) the primary research foci of contextual
factors and wellbeing were used to focus in vivo observations of the footage during creation of
the summarised written accounts. Following this process, transcribed qualitative data were
read repeatedly to ensure familiarity and enhance trustworthiness. Observations relevant to
the research questions were coded (N = 199); these codes were combined, split or refined as
analyses proceeded in an iterative fashion (Saldana, 2013). Themes and sub-themes relating to
the main theoretical constructs (contextual factors and wellbeing outcomes) were created
through a consolidation and mapping process of codes identified through holistic, in vivo,
descriptive and pattern techniques (Saldana, 2013).

Results of thematic analysis

Three overarching themes emerged from the inductive analysis and these are listed in Table 1
alongside their sub-themes (contextual factors) and the contextual factory categories. Each one
of these three themes is described in detail below.
272 Psychology of Music 46(2)

Theme 1: Young people feel safe

The first theme that was derived from the analysis was that the young people felt safe within the
boundaries of the Musomagic environment. Young people felt safe and able to voice their opin-
ion without fear of judgement. The highly structured two-day program was consistent, predict-
able and had a strong emphasis on supporting one another through teamwork. Table 2 provides
examples of how the three sub-themes, large group size, direct and honest feedback, and high-energy
rituals emerged from data.
Large group size was the first contextual factor that impacted young people’s feeling of
safety. The group consisted of 85 young people in total; some of the songwriting work was
undertaken in smaller sub-groups of approximately 15–30 people. This is still considered large
for group work in therapeutic songwriting settings (Baker, 2015). The large group size was
perceived to help create a sense of safety for young participants, as it enabled quieter individu-
als to “blend in”.
Direct and honest feedback was also identified as a facilitation contextual factor that
impacted the experience of feeling safe. Artist facilitators were straightforward in their approach
with young people. Authentic praise was frequently offered, and far outweighed constructive
criticism (referred to as “calling (people) out” by the facilitators). When they arose, facilitators
tackled difficult issues with the group immediately, and then once addressed they moved on and
the issue was not raised again.
Ritualised, high-energy activities were facilitated with infectious energy and enthusiasm.
They were observed to provide predictability and structure and help break down social barriers
to participation.

Theme 2: Young people have fun

Great efforts were taken in creating an environment where young people could have fun
whilst working hard towards program goals. Developmentally appropriate games were
used to create interludes of playfulness between periods of hard work. Table 2 provides
examples of the sub-themes that emerged from the data. Equipment and resources in the
form of motivational, age-appropriate, contemporary music was found to be an important
contextual factor in enabling young people to have fun. Humour was often employed by
facilitators, frequently interspersed between more challenging activities. Humour was
observed as a facilitation factor that helped reduce tension in the group, break down barri-
ers, and promote team bonding. Professional recording and playback equipment was also
an important contextual factor used throughout the program. Cutting-edge sound produc-
tion equipment helped create a party-like atmosphere during songwriting activities, which
supported the young people’s experience of fun within the workshops.

Theme 3: Young people “push beyond” boundaries

Young people were observed to work hard throughout the program’s activities, pushing
beyond their typical boundaries and taking risks. “Push beyond” comes from the co-created
song lyrics of their song. Table 2 provides examples of the sub-themes that emerged from the
data. From the start of the program high expectations of young participants were articulated
explicitly, and facilitators demonstrated belief in the capabilities of the group through their
words and actions. There was an emphasis on artistic excellence. Artistic excellence and
credibility were both integral components of the Musomagic experience. “Aesthetic quality”
Table 2.  Themes, contextual factors, and examples from the data.
Theme 1: Young people feel safe
Sub-theme (Contextual factor)
Large group size
Direct and honest feedback
High-energy rituals
Theme 2: Young people have fun.
Motivational music
Humorous facilitation
Professional sound equipment
Theme 3: Young people “push beyond” boundaries
High expectations articulated
Emphasis on artistic
excellence
Leaders model participation
How observed
Number of young people working
together in groups.
Positive feedback and
constructive criticism given by
leaders as appropriate.
Repeated group activities
throughout program.
Music as a soundtrack for
program activities.
High-spirited interactions with
young people, choice of language
and intonation.
On-site mobile recording studio
for recording and playback.
Asking for commitment and
100% effort.
Artist leader influences song.
Leaders embody the participation
levels they demand.
Examples from excerpts of authors’ descriptions of audiovisual recordings
Baker et al.
During a flash mob performance of the group’s song and dance, strength in numbers is observable,
as 90 young people look comfortable and confident during their performance in public.
“90 awesome young people that have come together here to do some great stuff” (facilitator talks
to the audience at final performance).
“I’m really super proud of you” (facilitator comments to the group after they perform their song).
“Make a commitment cos right now you’re half Dog, half Frog” (facilitator comments to a young
person in “Dog” team chatting to “Frog” team member).
Dance music pumps through the loudspeakers as young people run into the hall. Lots are singing
along and dancing together in small groups. The group are directed to get into a big circle, one of
the artist leaders breakdances in the middle as others watch on, clapping and cheering.
The soundtrack for initial arrival of young participants into the hall is carefully designed, down to
the exact point on the dance track (Can’t Stop the Feeling by Justin Timberlake) at which the door
swings open and people begin to walk in.
(Facilitator verbalising what many young people may be thinking as they arrive on the first day
to a scene more akin to a night-club): “Is this a cult?! … Freaky, weird religious thing where they
kidnap us?”. The young people seem to find this amusing and many who looked uncomfortable
upon arrival are now laughing and chattering excitedly.
Young people get to record their lyrics at the mobile sound production desk, using impressive
professional equipment including headphones and mic.
Hearing about the tight deadlines for the song and video, the young people appear to be in stunned
silence. The leader tells the group “the only way this is possible is for you all to give 100%”.
The song has significant artistic input from artist leaders, who comment that the word “go”
appears twice in the lyrics, suggesting another word should replace one of the instances. The
leaders end up choosing the replacement word.
One of the artist leaders is observed dancing with an aged care resident during flash mob,
modelling appropriate interaction; young participants are later observed imitating this positive
social interaction.
273
274 Psychology of Music 46(2)

Table 3.  Themes describing wellbeing outcomes.

Theme How observed Examples from written descriptions of the

Young people are more
connected
Young people appear more
confident
Young people appear to be
proud of their achievements
Young people appear less
connected and engaged
audiovisual recordings
Positive verbal Several young people call out “You can do it
and non-verbal bro!” to one participant who finds the group
interactions. environment particularly challenging.
A young male is observed standing a distance
away from the rest of the group. Another
young person invites him to join the group by
jovially pushing him towards the middle of the
room where young people are dancing.
Increased enthusiasm In contrast to the first day, every young
observed in person is engaging in the group dance,
performance. waving their arms in unison, smiling, and
dancing enthusiastically.
Increase in positive An artist leader sings out a lyric suggested by
non-verbal a small group of participants, and comments
behaviours. “that’s REALLY good guys”. The young people
are then observed smiling, fist bumping, and
patting each other.
Reduction in The artist leaders ask for suggestions to
positive non-verbal replace a word that repeats in the verse.
behaviours. Participants suggest replacements but these
are rejected, with the changed lyric eventually
being contributed by one of the leaders. There
appears to be a decrease in engagement and
connectedness within the group. Increased
fidgeting and reduction in positive facial
affect/smiling are also observed.

was frequently emphasised over “song ownership” of young participants. Artistically tal-
ented individuals were rewarded through the opportunity to sing solos and contribute signifi-
cant proportions of song lyrics.
Finally, facilitators modelled participation by embodying the participation levels they
demanded of young people and frequently leading by example during group activities. For
example, during one of the group warm-up activities at the start of the day (a whole group
dance to Can’t Stop The Feeling by Justin Timberlake), facilitators were observed dancing ani-
matedly alongside the young participants.

Wellbeing outcomes
Thematic analysis identified the four most salient features of wellbeing outcomes (themes) for
young people during the program: (1) young people are more connected; (2) young people
appear more confident; (3) young people feel proud of their achievements; (4) young people
appear less connected and engaged. The four wellbeing themes are presented in Table 3 with
examples of how these themes were derived from the data. The overarching themes from the
first thematic analysis (Table 1) were observed to indirectly influence the first three wellbeing
themes. One of the sub-themes (emphasis on artistic excellence) was observed to directly impact
wellbeing theme 4 (young people appear less connected and engaged).
Baker et al. 275

Pedagogy
Drawing from the video analysis, it was obvious that the two-day workshop had been very
carefully planned and there was a wealth of practical experience, reflection and refinement
supporting this planning. Trial and error and experience means the artist leaders knew
how the participants would react; right down to choosing a name for the band on the sec-
ond day. The seamless and energetic pace included the rapid turnaround with the technical
support – the recording, mixing and video editing. The leadership was strong and clearly
defined and included all the adults present, recognising the advocacy power that comes
from adults who have participated in the program. These skills extended to the establish-
ment of carefully chosen “mentors” who create a bridge between the artists’ leadership and
the participants. The artist leaders seem to know just what to do, what van Manen (2016)
might describe as “pedagogical tact” or thoughtfulness – where the facilitator/teacher
knows when to allow the child to act for herself by maintaining a certain distance. This
approach is in operation with the larger group and with the mentors, where the facilitator
recognises the developmental aspect of the first time mentors, seeing their “mistakes” as a
positive movement towards growth.
With groups of 85 and an understanding of the young people’s capacity over these two
intense days, the artist leaders provide a chorus as a stimulus and a number of interventions
that speed up the process towards the final product, but without diluting the young people’s
ownership and investment. One of the two artist leaders has a professional standing and
long-time participation in the music industry that clearly lends him credibility and kudos
amongst these young people, as well as providing access to the highly professional resources
that support the program. This artist recognises the importance of the physical experience
and has the capacity to deftly “flip” between formal and informal moments of activity, but
this learning also “flips” ownership of the activities (Philpott, 2016). This ownership of the
music also recognises the participant’s musical culture, which is acknowledged throughout
the literature as being critical to young people’s engagement and investment in music activi-
ties (Hallam, 2015; Wright & Finney, 2010).

Discussion
Through the emerging research process, a complex set of interrelated constructs emerged to
highlight the contextual factors and their relationship to wellbeing outcomes. The three over-
arching themes that were identified translate to broad program characteristics. These broad
program characteristics were impacted by a number of contextual factors (sub-themes), many
of which confirmed findings from previous songwriting studies.
The theme “young people feel safe” indicates the artist-led program created an environment
that is consistent, predictable and teamwork-driven, thereby promoting feelings of being safe
for young participants. Similarly, perceived safety of physical space (Baker, 2013b), and secu-
rity and containment (Derrington, 2005) were relevant factors identified in this research.
Findings did not substantiate McGillen and McMillan’s (2005) facilitation approach, charac-
terised by the lack of authority figures, but certainly supported other literature noted earlier.
The Musomagic facilitation approach had a clearly defined leadership structure, however some
of the facilitation factors impacting the overarching theme “young people feel safe” overlapped
with McGillen and McMillan, for example, practical demonstrations and use of humour.
The second theme “Young people have fun” was a salient feature of the Musomagic pro-
gram, as dynamic artist facilitators, high-tech equipment, high-energy, ritualised activities,
276 Psychology of Music 46(2)

and motivational music combined to create a group songwriting experience that epitomised
“fun”. Fun was also a significant facilitation feature implicated in wellbeing-focused group
songwriting programs targeting young people in music education (Barrett & Bond, 2015) and
music therapy (S. MacDonald & Viega, 2012) programs. The contextual factor of professional
sound equipment also supported prior research (Crouch et al., 2011; McFerran & Teggelove,
2011; Paukste & Harris, 2015).
The third theme “Young people ‘push beyond’ boundaries” describes observations of partici-
pants pushing themselves out of their comfort zone to work hard and achieve results. Of all the
contextual factors impacting this program characteristic, emphasis on artistic excellence is the
most noteworthy. This artist-led facilitation feature has significant differences with typical
music therapy approaches which are less concerned with artistic perfection and more inter-
ested in the meaning of the songwriting experience (Baker, 2015).
As evidenced in the findings, the song created in the program had significant artistic
input from facilitators, and at times the aesthetic quality seemed to be prioritised over
young people’s ownership of the song (see example in Table 3). As discussed in the context
of therapeutic songwriting models, this may have reduced the potential for wellbeing out-
comes, such as autonomy (Baker, 2015). Conversely, the contextual factor “emphasis on
artistic excellence” was also perceived as a wellbeing enabler, through helping achieve a
credible, highly professional song product that participants could feel proud of (see exam-
ple in Table 2). Furthermore, through sharing this high-quality artistic creation with oth-
ers, the listener/viewer’s perception of the young participants may also have been positively
impacted. This mirrors references made in the literature regarding the role of song sharing
and performance in effecting wellbeing outcomes that impact beyond the individual (Baker,
2013c, 2013d).
Within the Musomagic workshops, the artist facilitators took an active role in deciding
which lyrics to include in the song which led to the observation that young people appear less
connected and engaged (see Table 3). This level of facilitator-influence contrasts with the
resource-oriented approach more common to music therapy approaches (Rolvsjord, 2010),
where participant ownership of the song is emphasised (Baker & MacDonald, 2013). Baker
(2015) asserts that original songwriting (both music and lyrical content created by partici-
pants) provides a stronger sense of ownership than less original methods, such as the strategic
method employed by Musomagic. Baker also references the potential of more original songwrit-
ing to provide increased agency, an essential part of psychological wellbeing for young people
(Baker, 2015; Baker & MacDonald, 2013).

Implications
Group songwriting programs have therapeutic potential as a means of enhancing psychosocial
wellbeing outcomes. For young people who participate in group songwriting programs to real-
ise this potential, they first and foremost need to engage in the activity. It is suggested that
young people’s wellbeing in the Musomagic program was enhanced through their engagement
in an environment that allowed them to have fun, feel safe and push beyond boundaries (the
three overarching themes), and that the 14 contextual factors identified in Table 1 (sub-themes)
helped shape this environment.
We propose that the contextual factors (Table 1) and wellbeing outcomes (Table 3) may
relate to each other, as is shown in Figure 1. Here, the starting point is the contextual factor of
creating a safe environment for the youth. As the young people feel safe, they are able to have
fun and when they engage in fun with other young people, they feel more connected to them.
Baker et al. 277

Figure 1.  Contextual factors impacting wellbeing outcomes.

Such connectedness may lead to increased confidence. Similarly, when they feel safe, they can
take a risk and push beyond their boundaries. Taking a risk leads to achieving new things, in
this case, creating a song they can be proud of. Such achievements also lead to increased
confidence.
Based on our findings, we recommend that regional communities where youth tend to have
less access to meaningful age-appropriate music engagement activities employ short-term art-
ist-led programs such as Musomagic to enhance the wellbeing of their youth. Although the
Musomagic leaders demonstrated insight into the facilitation style required to create the safe
environment needed to spur on individual and group change, it cannot be assumed that all art-
ist leaders attempting to deliver programs similar in structure to this will achieve the same
ends. We recommend music educators, music therapists, and youth workers who may encoun-
ter such programs in regional communities, take initiative in communicating how such con-
textual factors can impact young people. Imparting such knowledge is likely to improve the
quality of the artist-led programs and therefore, lead to better outcomes for young people.

Limitations and future research

The findings of this study are contextually based and may not be generalisable to other artist-
led programs. We noted that the two facilitators were not merely great songwriters and
respected musicians, but also very charismatic, and young people were instantly engaged by
their facilitator styles. The scope of this research did not permit member checking of data inter-
pretations. Gaining perspectives of young participants and program leaders may provide a dif-
ferent perspective on the impact of observed contextual factors on wellbeing outcomes for
young participants.
The present study provided concrete examples of specific contextual factors relevant to well-
being outcomes in artist-led group songwriting with young people. The findings from this study
offer music therapists, as well as other professionals who work with young people, valuable
insights into how engagement in wellbeing-focused interventions might be enhanced by apply-
ing some of the contextual factors identified in this study. Future research on some of the con-
textual factors identified in the present study may shed more light on how they could be applied
in music therapy or classroom music education contexts.
Future programs may need to alter the degree of influence of emphasis on artistic excel-
lence depending on wellbeing goals. For example, if giving voice to marginalised young
278 Psychology of Music 46(2)

people is the primary aim then more focus on participant song ownership may be neces-
sary (Baker, 2015), as compared to the goal of promoting self-esteem and pride, where a
high degree of artistic input may be advantageous to ensure aesthetic value of song prod-
uct and resulting sense of pride.
The issues presented in relation to the impact of the “artist-led” component of the Musomagic
program also raise the question of how the concept of artistic excellence might be integrated
into future wellbeing-focused programs. Further research might contribute to this topic by
making comparisons between participant-perceived wellbeing outcomes in programs situated
along a continuum with varying degrees of emphasis on artistic excellence, and participant song
ownership focus.

Conclusion
This study described the relevance of music to young people, and the potential for group song-
writing programs to foster wellbeing for this population. A music therapy perspective of an
artist-led songwriting program was provided. This perspective highlighted a number of contex-
tual factors in a Musomagic songwriting program for 85 young people, and suggested ways in
which these may have (in most instances) fostered wellbeing. Insights into circumstances per-
mitting wellbeing outcomes for young people gained from this research can inform music ther-
apy, music education, and other professions that employ group songwriting techniques with
young people to help foster wellbeing.

Funding
The author(s) disclosed receipt of the following financial support for the research, authorship, and/or
publication of this article: This research project was funded by a UNESCO grant (2016), FreeZA funding
and the support of Strathbogie, Mansfield, and Mitchell Shire Councils, Victoria, Australia.

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