Earlier this year, I read a book that completely reinforced my approach to music workshops.
This book concentrates on a theory used in drama which acknowledges the role of the body in performance; because there is so much focus on instrumental technique in music this is often overlooked.
Graeme proposes a universal form of musical thinking which is not limited by genre but instead makes it possible to create compelling performance pieces.
It could just be about the best book that you can read on the subject, anywhere, ever.
What I believe is particularly important is the emphasis on insisting on performance outcomes at all stages.
He says:

Is it possible to run sessions that don't lead to a performance? No.
The performance is essential as the ultimate goal.

That might not seem radical but it is still pretty profound.
That single piece of advice holds the secret to getting your groups from going through the motions to reaching levels of performance that nobody would have thought was possible before.
In fact, don't think of teaching or facilitating, just think of performance making.
The learning is in the performance, the pride is in the performance, the achievement is in the performance.
Am I going over the top? Well I just want to make sure that you understand what this really means, and how it can energise all of your sessions from this day on.
These days I find it difficult to impart any kind of structured workshop process to my community music students because so much of what I do is UNPLANNED and completely in the moment.
Using the performance making approach I now have a key principle that they can all use and understand.
Now don't get me wrong here, I am not for a moment overlooking the journey for the destination, or the process for the result.
Nor am I someone who tries to make a glittery production that papers over the cracks of bad planning and workshop process just to keep the funders happy.
I'm glad I got that off my chest.
The Reasons 1.
Direction Any group can lose its focus half way through a project.
Use the performance as a reference along the way and keep everybody on task on a timeline that will give your project purpose and direction.
At the beginning of your project you can co-construct the nature of the final performance with your group; for the participants  to have an involvement at every stage from beginning to end will lead to ownership which will in turn lead to engagement and enthusiasm.
Not bad eh? 2.
Progress Because you are being clear on the performance expectations you are now able to instil extraordinary standards to aspire to.
I don't care what level your group are at, by continually referring to the performance outcome you will get plenty of leverage for extracting nothing but the very best from your participants.
As performances stack up, as in some of the longer projects, you gather a rich portfolio of quality evidence that will illustrate progress and achievement across all abilities and age ranges.
3.
Legacy Creating leaves legacy.
Constructing and producing a performance changes the world just by the fact that it has happened.
The players are transformed and their friends and relatives and audience members will all be impacted by the performance outcome.
You have, with your group, the potential to create something that they might talk about for the rest of their lives.
Imagine that.
Build performance making into your music workshops even if that outcome isn't required by outside partners or third parties.
Strive for excellence and performance discipline and watch how the engagement and enthusiasm of your group goes through the roof.