Research suggests that eating disorders (EDs) may be a very common problem in musicians, with 32% of the 301 adult musicians in Kapsetaki and Easmon's (2017) study reporting some form of disordered eating over their lifetime. This is considerably higher than the general population's lifetime prevalence rate of EDs of 1.89% in males and 2.58% in females (Qian et al., 2021). Research on EDs in musicians is therefore essential, particularly given the potentially fatal impact of EDs, but the area is under-researched, with only a small handful of studies investigating the topic (Aksoydan & Camci, 2009; DiPasquale, 2012; Kapsetaki & Easmon, 2017). The determinants that contribute to the development of EDs in other performance disciplines such as dance and sport have been subject to considerable research over the years (Arcelus et al., 2014; Chapa et al., 2022), but music-ED research has fallen far behind in comparison; it is so far unclear as to whether the findings regarding prevalence, determinants and experiences generalise to the musical domain. As exposed in the All-Party Parliamentary Group on Eating Disorders report compiled by leading ED charity Beat (2021), ED research is severely underfunded in the UK. Though EDs account for 9% of people with a mental health condition in the UK, just 1% of the UK's already limited mental health research funding is dedicated to EDs, despite EDs being associated with a significantly increased risk of mortality (Testa et al., 2020). Treatment outcomes are invariably poor for most EDs, with high rates of relapse for anorexia nervosa, bulimia nervosa and binge-eating disorder (Testa et al., 2020). There is an 'urgent need' (Testa et al., 2020, p.335) for significant improvement in treatment/prevention methods. The impact of this research project has the potential to reach 1) musicians, 2) other performance disciplines, and 3) extend beyond the music industry and contribute towards our wider understanding of EDs in the general population. Based on recommendations from the aforementioned research, this project aims to investigate both the prevalence of and the determinants that can contribute to EDs in musicians through qualitative and quantitative methods. I will also consider how this knowledge can be used to improve prevention strategies and treatment outcomes. As there is currently little research on the topic and a clear gap in the literature, I propose a set of open, exploratory questions that will allow me to build a basic foundation before pursuing the more specific lines of enquiry that shall emerge. RQ1: What is the prevalence rate of EDs among musicians in the context of their professional, psychological, health, and demographic characteristics? RQ2: What are the determinants of EDs among musicians? RQ3: What are the individual experiences of musicians who have been diagnosed with an ED? RQ4: What support might prevent the development of EDs in musicians or benefit musicians who have experienced disordered eating? The stated population, "musicians", encompasses many different experiences/stages of life/careers; as such, RQ1 shall investigate the impact of the aforementioned characteristics on prevalence rates to determine whether the following RQs ought to focus in on a particularly at-risk subgroup in order to generate more specific/directed knowledge and support. As this project poses exploratory questions with the aim of understanding both objective prevalence rates and subjective experiences, the project must take a pragmatic approach and utilise both quantitative and qualitative methodologies. Furthermore, as the fourth and arguably most important research question aims to facilitate improvements in prevention/treatment methods, a co-design/co-creation approach will be necessary in order to produce and receive participant feedback on potential resources.

This project will shed light on the wellbeing of autistic students within UK music conservatoires, investigating difficulties encountered by such students and analysing whether the environment is an effector of these challenges. While most autism and music literature focuses almost exclusively on what music can provide therapeutically or psychosocially for autistic persons, there is a striking lack of research focusing on Autistic Spectrum Disorder (ASD) musicians themselves. This project will fill this academic gap and - through a programme of qualitative research - offer a fresh first-hand perspective on the autistic higher music education experience. Notably, it will be undertaken within the Royal College of Music by an autistic conservatoire graduate and freelance musician. The data gained through this project will provide the basis for proposals on the implementation of accessibility developments and - by analysing those highly susceptible to poor wellbeing - amplify existing calls for scrutiny of conservatoire social norms and their effect on student health. The investigation's conclusions will hold relevance for networks across music and arts education, as well as in the field of neurodiversity academia. The research design includes the following themes set within three research questions: What are the experiences of ASD conservatoire students in relation to Keyes' three components of wellbeing (emotional, psychological, and social well-being)? What components of the conservatoire culture do ASD conservatoire students perceive as effectors of their wellbeing? How does current conservatoire policy promote equitable access for autistic students and what processes would encourage further support to occur?

This CDA arises from a growing need to address the inequity in access to arts and cultural activities (including music) for early childhood (EC) in England. There are structural barriers that make funding and access for the birth to five age group inequitable. These include an educational system which provides universal access to music through compulsory education for children from five to 16 years, a National Plan for Music Education (DfE, 2011) which does not make provision for children under five, and an unregulated early childhood arts education sector. These factors compromise England's capacity to honour its commitment to The United Nations Convention on the Rights of the Child that every child (0-18 years) has the right to equal opportunities to participate in cultural and artistic activities (article 31, UNCRC, 1990). National charity, MERYC England (Music Educators and Researchers of Young Children) aims to articulate high quality inclusive EC music practices with an emphasis on research and practice that recognises social and cultural diversity of early childhood in England making them an ideal partner for this CDA. This study's collaboration enables investigation of the early childhood music landscape in England through understanding its history, and its disparate contexts. From this cultural history basis, it will chart conceptions of ways of working that are inclusive, those that inculcate a sense of belonging that Pascal et. Al (2020) suggest is needed now, whilst being sensitive to a child's cultural heritage. Making available illustrative examples of the findings will provide practical examples to help shape practice and research. The findings will be relevant to interdisciplinary networks such as international early childhood music, arts and education networks; early childhood networks; community music organisations; socially engaged practitioners; early education organisations; funders of informal music projects; local cultural education partnerships; musicologists; anthropologists and ethnomusicologists

Making music at the highest international levels can be immensely rewarding, but it is also challenging, with recent research highlighting numerous, pernicious ways in which practising and performing can affect musicians' physical and mental health. A growing body of evidence now points to a need for more (and more effective) health education and promotion initiatives within music educational and professional settings. This CDA project emerges from the £1million AHRC-funded Musical Impact project (2013-18, PI: Williamon). It will be facilitated by Healthy Conservatoires, a legacy network of Musical Impact, chaired by Williamon. With current international membership of over 120 artists and educators, 1 Healthy Conservatoires meets biannually to bring together stakeholders from the UK's performing arts sectors to assist in supporting health promotion and occupational wellbeing among performers. In collaboration with the British Association for Performing Arts Medicine (BAPAM), the project will evaluate sector-wide resources and best practice in health literacy, education and promotion within higher music education. It will consist of three strands: 1. Mapping health and wellbeing assets and resources for musicians in UK higher education; 2. Creating case studies of good practice in health literacy, education and promotion within UK higher education, informed by international best practice; 3. Assessing parallels and differences between music and other performing arts in terms of health literacy, education and promotion, assessing the potential for positive, interdisciplinary exchange in supporting for performers' health and wellbeing.

This project will advance the understanding of holistic self-efficacy -the belief in one's capability to perform a task- for the enhancement of connections between performing, learning, and wellbeing. Decades of research evidence that self-efficacy unites and develops these key concepts. However, theoretical misconceptions result in ineffective and unsustainable self-efficacy interventions and education. This includes the notion that high self-efficacy is the ideal and low self-efficacy is to be avoided. To the contrary, preliminary evidence reveals that fluctuations in the strength of one's self-efficacy allows for deeper reflection, learning, and application to performance. However, current interventions typically found themselves on goal of continually high self-efficacy. The consequence for conservatoires is that students cannot reach their performance potential, which negatively impacts performer wellbeing. This research therefore addresses a crucial gap in the literature by providing the foundation for progressive interventions, granting musicians the necessary understanding of how their beliefs inform performance.