A dyslexic brain, when reading, looks different to a non-dyslexic brain in the sense that different parts light up. In simple terms, the non-dyslexic brain processes reading on the left side of the brain – in the dyslexic brain there is much more crossover between the left and right brain in regard to where reading happens.

The world we live in today revolves around technology. Creating music used to be the realm of professional musicians with extravagant budgets and access to studio equipment that mere mortals could only dream of. Fortunately, this technological revolution now means that anyone with a musical idea and a half-decent laptop can produce tracks to rival any you hear in the charts.

Supporting young people to feel safe and included is central to grassroots music projects’ work. Yet safeguarding can often seem to be more about compliance, with generic policies and box ticking measures. Something that’s far removed from the day-to-day practices of providing a welcoming space, listening and learning from young people, and promoting everyone’s wellbeing. Here, Gawain Hewitt reflects on how he’s come to understand safeguarding as part of his day-to-day creative work and provides some top tips to close the gap between safeguarding policy and practice.

Explore this list of youth voice in research and evaluation.

Jazz music, from its smooth grooves to its quirky chord patterns, is one of the most popular genres of music in the western world. Yet, it is often seen by younger music learners as a musical style that is hard to "get into". With pop and rock music so readily available, jazz, which students often comment as being a "more sophisticated" style of playing, is sometimes seen as aloof or worse still, hard to understand.

A collection of some recommended training and resources on the topic of youth voice.

Youth Music spoke to Sharon Jagdev Powell, Deputy Head of Leicester-Shire Schools Music Service, to find out about diversity and inclusion practice within the service. With a 25-year background in education, Sharon has worked in a broad variety of environments, challenging instances of institutionalised racism and lack of representation. She shares examples of how her service has evolved its approach to equity and inclusion, with advice on where to start and where to go next.

So you want to know how to become a guitar teacher?

Jack Kingslake is the Mentoring Coordinator at Rhythmix and since taking on the role finds that the question of what exactly a music mentor is, is one he finds he has to attempt to answer on a regular basis. Jack has worked for many years as a music mentor, and was trained through the original Youth Music Mentors programme but still finds the line between tutor and mentor a bit blurry.

How musicians are building careers through Patreon, Twitch, and crowdfunding—turning online communities into sustainable income without needing a record deal.