Derrington 2012 thesis.pdf - Anglia Ruskin Research Online

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time but gives the student a huge sense of achievement and for students, who find learning very difficult, such an activity can help to increase concentration. It can also build confidence in their playing which is a vital part of the work because it can lead to students feeling able to experiment musically. The ninth video example (4.4.2.2) shows Dominic, 15. When he began music therapy he was really keen on learning set pieces so that he could impress fellow classmates and play to his friends at youth club. I taught him the opening riff to ‘Smoke on the Water’ (Deep Purple, 1973). It took a while for him to learn it but, being able to practise the notes in a slow and organised way, helped him to focus, play as a duet with drums and subsequently have a go at jamming. He played a recording to the school’s head teacher and played it to a few of his friends at youth club. The acknowledgement he gained from outside the music therapy room boosted his confidence. 4.4.3 “I’m gonna do the X-factor!” Using the video camera and performing Using recorded music, microphones and the video camera is a winning combination with teenagers. Even though many students can be shy singing in front of others, they often enjoy using the video camera and become confident performers keen to communicate with the audience whoever that may be. Making a DVD of their performances for someone allows students to discuss whom they trust and who they want to share their music with. Originally I used the video camera to record sessions to make my own observations and learning through supervision but it has gradually become evident that the camera is also an important tool for teenagers to use during their sessions. I now consider the video camera to be an intrinsic part of the work; it is almost as invaluable as any musical instrument in the room. It is a source of much inspiration and has made us into pop stars and musical lead singers, not to mention politicians, newsreaders and weathermen. Making videos for a song, even replicating dance moves, can be just as important as the song itself. ! *+!
Adolescents who are not sure of themselves might find social situations terrifying. Away from peer pressure, students’ ideas can be boundless. Using the video camera seems to foster playful and imaginative spirit, of being in a band, being famous or being a cameraman. Needless to say, the ‘X-factor’ and other television talent shows make a huge impression on this age group and many of the students are keen to recreate their own version of such a show, participating either as judge or performer. The voice and self-identity are closely linked (Newham, 1999) and singing and being playful with the voice can be a way for young people to hear and express themselves in a new way. ‘Our voice reaffirms who we are, how we are feeling and [… ] serves an important function in maintaining our sense of identity, for the sound of our voice reminds us of who we are, it reinforces our sense of Self’ (p.103). This is particularly meaningful and applies to work with adolescents who constantly question how others hear and perceive them. With the aid of the camera in sessions, students can listen to themselves and become reflective learners. It can really boost their confidence and help them to think about the music, as well as how they look and perform. Sharing DVDs with staff, friends and family members can give students a new way of presenting themselves, their opinions and feelings and can enable them to be seen in a different light (Powell, 2004). They can be really proud of the outcome and the DVD is a tangible record of their achievement which they can take away from the music therapy session. Vignette 4.3 Samantha, 16, saw a CD with the song ‘What a wonderful world’ (Thiele and Wiess, 1968) and declared emphatically: “I can’t sing that!” Unlike Lewis (DVD clip 8) and Michael (vignette 4.2), who chose songs because they identified with the lyrics, Samantha felt strongly that she did not want to sing certain lyrics. Samantha had lived in many different homes and throughout her teenage years had frequently had to change foster family, sometimes moving twice a year. She began music therapy just before her fifteenth birthday when she was living in a children’s home. ! *"!
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ANGLIA RUSKIN UNIVERSITY MUSIC THER
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Marion Long Thank you for conductin
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2.4 Arts therapies for adolescents
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5.3.3 Recruitment and grouping ....
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7.7.2 On talking, playing and being
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COPYRIGHT Music Therapy for Youth a
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LIST OF FIGURES Chapter 3 Figure 3.
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Figure 7.5.3 Do you think you get e
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LIST OF TABLES Chapter 5 Table 5.2
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CHAPTER 1 INTRODUCTION 1.1 Introduc
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1.2 Adolescence and adolescent cult
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Comments on an article concerning t
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week. He was quite happy to have th
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(Grimshaw, 1996). Although this ter
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start. However, school files which
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When there is emotional distress, t
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and counter-transference. In chapte
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1.5.2 Overview of methodology In or
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CHAPTER 2 LITERATURE REVIEW 2.1 Int
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2.2.1 Literature on adolescents and
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influence or impress others as a me
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how it can ‘enhance a variety of
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2.3.1 Descriptive articles In a pub
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De Backer (1993), in his account of
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with authority figures, even gangin
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threatening for the adolescents who
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Recurring themes in drama therapy a
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In the UK, a randomised, controlled
Page 57 and 58: acquire musical skill. ‘First and
Page 59 and 60: 2.7.1 Descriptive articles There ar
Page 61 and 62: emotional and behavioural problems
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Page 65 and 66: The sessions aimed to increase the
Page 67 and 68: are, whatever educational setting t
Page 69 and 70: had an impact on music therapy and
Page 71 and 72: 3.2.1 Inclusion The Government Gree
Page 73 and 74: The Learning Support Unit at Cotten
Page 75 and 76: The school focuses on individual le
Page 77 and 78: alcohol or drug addictions, many ar
Page 79 and 80: all students in music therapy is to
Page 81 and 82: asked if he could take one of the w
Page 83 and 84: Figure 3.4.2 After the bike worksho
Page 85 and 86: 3.5 Music therapy and the education
Page 87 and 88: eginning I used to talk to staff as
Page 89 and 90: many of these students can seem dir
Page 91 and 92: others to hear what is being played
Page 93 and 94: CHAPTER 4 (WITH DVD) AN APPROACH TO
Page 95 and 96: particularly well with adolescents
Page 97 and 98: Rogers’ methods, and the form of
Page 99 and 100: my approach has been shaped by the
Page 101 and 102: time!” he shouts and I react “T
Page 103 and 104: a free-flowing stream of expression
Page 105 and 106: Music is often related to on an emo
Page 107: Subsequently he was able to share h
Page 111 and 112: It is important to address the use
Page 113 and 114: Vignette 4.5 Gary, 15, wanted to si
Page 115 and 116: to me and say “that’s it”. To
Page 117 and 118: Then, in his sixth session he stopp
Page 119 and 120: Figure 4.4.6 Rose’s drawing She s
Page 121 and 122: Gerald in the story, the most remar
Page 123 and 124: letting them rule, can feel chaotic
Page 125 and 126: CHAPTER 5 METHODOLOGY 5.1 Introduct
Page 127 and 128: Table 5.2 Overview of the design an
Page 129 and 130: Group B could be considered as a wa
Page 131 and 132: 5.3 Participants Students at risk o
Page 133 and 134: Figure 5.3.3 Recruitment and groupi
Page 135 and 136: students’ choosing. The work vari
Page 137 and 138: The Beck Youth Inventories of Emoti
Page 139 and 140: School generally find reading more
Page 141 and 142: Effort was made to match the subjec
Page 143 and 144: allows profiling across scales…an
Page 145 and 146: e shared out between them. As the p
Page 147 and 148: Table 5.9.1 Topics set out in the i
Page 149 and 150: 5.9.2 Thematic review of interviews
Page 151 and 152: CHAPTER 6 KEY FINDINGS FROM THE QUA
Page 153 and 154: part of the project (9.3.1). Overal
Page 155 and 156: expected to score, based on their g
Page 157 and 158: Table 6.2.3 Summary statistics of a
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Figure 6.2.2.2 CVC students: the di
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Figure 6.2.3.1 Centre School studen
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students scored in the average rang
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perception of disruptive behaviour
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6.3.1 The Beck Self-Concept Invento
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Figure 6.3.3 Difference in groups
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are presented in this section as ba
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hand, CVC students are all settled
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6.5 Findings from the music therapy
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Table 6.5d.ii (in appendix 6.5d) sh
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All nine students felt that at leas
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Table 6.5d.III (in appendix 6.5d) s
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Figure 6.6.2 The change scores from
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6.7 Findings from school attendance
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CHAPTER 7 KEY FINDINGS FROM THE QUA
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Table 7.1 Themes from the predeterm
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Figure 7.2.1 How do you express you
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Daniel said he did “nothing” to
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7.4 Students’ attitudes to school
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given respect, but if the student h
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Figures 7.5.2 and 7.5.3 show a most
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thought about the future after musi
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7.7 Students’ thoughts on music t
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7.7.1 On improvising “Yeah lettin
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went on: “It’s like let the str
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and control, and maybe explains why
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year ten, which directly coincided
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7.7.5 On the impact of music therap
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therapy does, it really does open u
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CHAPTER 8 CASE STUDIES 8.1 Introduc
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way, were able to comment with unde
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He started to be more honest in ses
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John’s results were remarkable fo
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8.6 Case study 5: David David’s s
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CHAPTER 9 DISCUSSION AND CONCLUSION
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7. Positive effects of music therap
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how they raise difficult issues rel
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9.3 Reflections on the method The c
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esults because this was my instinct
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All the students’ responses to th
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feelings of anxiety It is also poss
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Lastly, there is the possibility th
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caution. These young people with an
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9.7 Looking Ahead Collaboration wit
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REFERENCES Aasgaard, T., 2005. Assi
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Baker, F. and Jones, C., 2005. Hold
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Breslow, N., 1981. Odds ratio estim
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Cole, T., 1998. Understanding chall
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DCSF, 2010. Pupil absence in school
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Dowling, E. and Osbourne, E. 1994.
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Fruchard, G. and Lecourt, E., 2003.
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Hallam, S. and MacDonald, R., 2009.
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Ierardi, F. and Jenkins, N., 2012.
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Koshland, L., 2010. PEACE through d
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S.Hadley and G. Yancy, eds. Therape
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Miller, A., 1997. The drama of bein
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Parsons, R., 2009. Teenagers! What
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Bruscia, ed. 1991. Case studies in
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Children and Adolescents. Preventio
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Triangle and Coram, 2011. Music The
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Wigram, T., Lumley, J. and Steen, C
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