Derrington 2012 thesis.pdf - Anglia Ruskin Research Online

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foreground and we could both hear and begin to acknowledge the lyrics. The board continued to play an important part in music therapy sessions but, crucially, had provided her with another way to communicate with me when her feelings had felt overwhelming and chaotic. I have found that having a variety of books and magazines about skateboarding, biking and go-karting can sometimes instigate ideas and themes for conversation, musical play and songwriting. Working with teenagers is constantly a fine balancing act between making suggestions and actively enabling them to come up with their own ideas. Vignette 4.9 Jacob, a 15 year old student at The Centre School, had very low self-esteem when he was referred to music therapy. He had suffered neglect and been moved away from his family. At the time of his weekly session he was often over-excited and seemed to relish music therapy as a chance to be noisy, leap about and hit cymbals and cowbells with wooden beaters for maximum volume. He was moving about in this way one day, hitting as many different surface areas as he could find with a drumstick, always in time to the heavy metal music we were listening to, which he had brought along. I followed him to create moments of interaction, by mirroring his playing or holding brief conversations through rhythmic patterns. He always moved away from me if I went near to him and it was difficult to introduce change to this behaviour. It was loud and quite boisterous but it felt important to keep up with this slightly frenzied activity and support his mood and, most importantly, react to his playing. He then hit upon a children’s book ‘Giraffes Can’t Dance’ (Andreae and Parker-Rees, 2001) on one of the shelves and was immediately drawn to it. He stopped playing, took the book and started to read out loud. He continued to wander around the room as he read but was engrossed in the pictures and story so I lowered the stereo’s volume, wandered over to the piano and gradually introduced a musical accompaniment to his reading. Then, like ! "+#!
Gerald in the story, the most remarkable change occurred. Jacob came over to the piano where I was, stood in front of me facing the piano and continued to read and sway as he read the words in time to the music. The two were connected and the story held this time of change and stillness. The story had introduced a different way of being in music therapy and, whilst sessions continued to be loud and chaotic at times, they could also contain periods which were quieter and unruffled. Jacob used the tale of the giraffe, who felt different to the other animals in the jungle, to start to address his own feelings. The story helped him to stop rushing around, stay with himself and consider his own feelings of being different and not accepted. This occurred in his own time when he was ready to do this. A few months later Jacob chose to make up his own song and he asked if we could write it up like a story and do all the pictures. He no longer needed to identify with Gerald, but had his own story to tell. 4.5 Dealing with resistance Students with very low self-esteem might resist at first because the environment is unknown. I show students that there is no pressure and spend time showing them the room, chatting and playing some instruments in an introductory and cajoling way. Fervent resistance one day can equally be replaced with a sudden demand for a session at another time. Such evidence of control needs to be addressed and is usually best managed within a session where the timings for our next meeting and the guidelines of attending session can be set. In the classroom setting students are used to sanctions and being marked for attendance, behaviour and cooperation. The teachers are authority figures and students often rebel and confront them, which can result in disruptive behaviour. At The Centre School there is a point scoring system used at three stages of each lesson marking the student’s attitude and behaviour. At the end of each term, these points convert to rewards as a way of enforcing good behaviour. Restricting students’ activities is a negative response and is used as well but, for some of these students ! "+$!
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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
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acquire musical skill. ‘First and
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2.7.1 Descriptive articles There ar
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emotional and behavioural problems
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school time and attendance was high
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The sessions aimed to increase the
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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 and 108: Subsequently he was able to share h
Page 109 and 110: Adolescents who are not sure of the
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: Figure 4.4.6 Rose’s drawing She s
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
Page 159 and 160: Figure 6.2.2.2 CVC students: the di
Page 161 and 162: Figure 6.2.3.1 Centre School studen
Page 163 and 164: students scored in the average rang
Page 165 and 166: perception of disruptive behaviour
Page 167 and 168: 6.3.1 The Beck Self-Concept Invento
Page 169 and 170: 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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