The sound of whales singing has much the same quality as the voices of children with cerebral palsy, and I believe it could be inspirational for the children to relate to them. I want to explore the idea that children (particularly those with cerebral palsy) will respond well to the sounds made by whales.

The object is to involve disabled children in music, and hopefully the music-making process, firstly by listening, and primarily by listening to the songs of whales, not only within a studio situation but then in swimming pools. In practical terms the idea could be introduced into groups and situations with young disabled people gradually, say by using contemplative or world music in order to create a calm and listening atmosphere.

Stage 1
One would have to find welcoming organisations (such as schools and residential homes) with adequate facilities, including trained staff and helpers, plus transport facilities. There is a possibility of funding from the City Bridge Trust which is interested in supporting a pilot scheme.

In order to establish whether there is a (good) response, it would be possible to work with the sound only, in a relaxed atmosphere - perhaps using a large hall, with the children out of their wheelchairs and lying on a comfortable surface. The sound system would have to be good. Speaking from experience this is often not recognised as important.

This is initially an intuitive exploration of sound and the process will have to be observed and recorded to verify any reaction or benefit. (There is nearly always an additional cost involved in documentary filming and editing, even if one could get volunteers to do the camera work.)

Stage 2
Musical inspiration should be developed and worked on with professional musicians, although the process may initially be more therapeutic than educational for some children.

There are no absolutes, there is more a continuum from therapy to creativity, with varying degrees of overlap, leading from the sounds to the child, to a realisation of sound and its effects, sometimes a realisation of simply being a body in the world with a separate identity, gradually leading to a creative interest in music.

Stage 3
Listening to sounds whilst in the water, as opposed to being relaxed on a stable surface, would have to take place wherever it can best be organised. Preferably in places where there are hydro-therapy pools which are easily accessible, and using under-water speakers.

Stage 4
Documentary evidence will be required before embarking upon further work.

Stage 5
My longer term idea is to shoot film over or on to 3 sides of swimming pools as an aid to composition for disabled children - and also for the sheer pleasure of appearing to be in the water, whale watching and listening to their sound of music.

I have the support of Kim Kindersley in principal. He made a film with Julien Lennon about whales (which took him 10 years) which won an award in Cannes and was released in Sydney in September. It could work as a commercial enterprise.

Final stage
Assuming that the children will respond well, and perhaps go on to increase their interest and develop their own musicality, then I would want to go forward in some way to involve children - mainstream and disabled children - in the Olympics/Paralympics in London in 2012. Not as performers but as participators.

The idea would fall within the bid made by London. I hope it might contribute towards the acceptance of disabled children through the media.

There is interest within the British Council.

St. Peter's Trust
I am working on fundraising for medical research with St Peter's Trust, which is now based at the Royal Free Hospital in Hampstead within UCL, working long-distance and coming to London on a regular basis'.

Drake Music Project Scotland and Drake Music Project Ireland

I am continuing (and will always continue) my interest in Drake Music in England, Ireland and Scotland, although I have retired as CEO in England and as Trustee, since it is rather a long way from France.

However, I very much enjoy opportunities to continue contacts and attend concerts with disabled musicians (children and adults) wherever and whenever possible.