Derrington 2012 thesis.pdf - Anglia Ruskin Research Online

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who have so little anyway, reducing their leisure activities does not impact as much as the vouchers which reward positive behaviour. Initially, students may expect the same in music therapy. They may see the music therapist as an authority figure and test how I react but my response is different. I allow them to make decisions in the session and make it clear that they can choose what to do because it is their time; I do not judge their behaviour, nor is there a reward. This student-centred approach can take students time to get used to and resistance and challenging behaviour can persist. However, this approach does generally lead to cooperation as the students accept that music therapy is different and our relationship is based on mutual respect. Describing a similar approach in drama therapy, Emunah (2005) explains that ’with this approach…the clients have little to resist because they are allowed to act as themselves; in fact, they may even be encouraged to exaggerate their rebellious behaviour’ (p.111). I am also reminded of Nordoff and Robbins’ (1977) basic premise, that there is always client participation and resistance in the process of creative music therapy. Structure is imperative with students who show resistance. During a session, it is up to the therapist to facilitate a practical framework that both creates space but also provides support to the student. If this is not in place the session will most likely end with the student leaving the room. Resistance from students, who refuse to attend and call it rubbish often occurs when therapy is addressing difficult feelings. Their protest is often made in front of other people and may be an act of bravado that claims they do not need support. However, even the loudest student in this situation will usually return to music therapy when they are ready. If a student refuses to attend, I usually return to them the next day or when space is available. Students know that they are cared for, that their work in therapy is important and I have to allow for days when they are not able to attend because they are feeling totally unmotivated, depressed or angry. By picking up students soon after a missed session, I can work with their feelings that became a barrier to them engaging and try to find a way in to the student’s thinking. There are numerous occasions when students have refused music therapy on one day and been very keen for a session the next. Managing young people and meeting their needs, whilst not ! "+%!
letting them rule, can feel chaotic. It is a balancing act that can only work when the staff team and I work closely together. For a few students, music therapy can feel too intense and threatening and they choose not to attend. In such cases it is very important to keep the channels of communication open and offer them further sessions when it seems appropriate. Adapting to the needs of each teenager and taking them as they are at that time is the only way to connect as well as understanding that the work is not bound to the music therapy room, as illustrated in vignette 4.10. Vignette 4.10 Matthew, 15, refused to attend music therapy after trying it a few times but at school greeted me loudly everyday with ‘G’morning, Shorty!’ This was usually accompanied by slapping me on the back, or leaning on my shoulder, followed by some comments about my height (or lack thereof)! He did not greet other members of staff in this way and it quickly became apparent that his gestures and our chats were a part of the therapeutic work: he just did not want to commit to it fully. His resistance to attending was made very clear to all the staff and he would shout over to me very loudly that he was not coming to music: “No-one’s gonna make me!” It became a humorous exchange on the mornings he was due to have music therapy. I always reminded him about his session but made sure that the humour and understanding was equal to his. This was the way I wanted to communicate with him and it enabled us to have a relationship. It was a consistent one and one that he trusted: he came to rely on this chat everyday and it sometimes developed into longer conversations about other things he was doing and how he felt about them. If a therapist hopes to relate to young people, it is absolutely necessary to chat and connect with them at the level that they are ready to engage. This is the same within a session when a student chooses not to use music: play and communication never stops. ! "+&!
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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
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had an impact on music therapy and
Page 71 and 72: 3.2.1 Inclusion The Government Gree
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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 and 120: Figure 4.4.6 Rose’s drawing She s
Page 121: Gerald in the story, the most remar
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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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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