Derrington 2012 thesis.pdf - Anglia Ruskin Research Online

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conversations to question students about issues which they could relate to, such as school and friendship. The interviews were designed by the therapist and interviewer with the students in mind. Careful consideration was given to the topics (shown in table 5.9.1) which were chosen specifically to appeal directly to students and enable them to answer as fully as possible. It was hoped that, by initially generating conversation about their interests, the student would engage more readily and this would lead to more open discussion about their perception of behaviour, discipline, respect and encouragement. The schedule also included the chance for students to reflect back on past events, friends, changing schools and interests. The second interview included questions about music therapy. Some of these were inspired by evaluation carried out previously at the school concerning students’ opinions on music therapy. The therapist was keen to explore the student’s reaction to the intervention, given this unique opportunity to have students interviewed by an independent and qualified person. ! "#)!
Table 5.9.1 Topics set out in the interview schedules Topics Before and after music therapy Before music therapy Interests ! After music therapy Means of self-expression ! Importance of friendships ! Attitude to school ! Enjoying school ! Respect in schools ! Encouragement from teachers ! Feelings that day ! Thoughts about ! the future Feeling about the future Views on world ! ! Music therapy ! Table 5.9.2 shows the specific questions posed after music therapy that were suggested in the schedule. However, the interviewer was directed to follow the student’s lead and only use the actual questions where appropriate in the conversation. Table 5.9.2 Questions about music therapy suggested in the interview schedule What was music therapy like Was a music therapy sessions different to another lesson In what way Did you feel listened to Was there enough choice of instruments Would you like to carry on with music therapy once this research project is over ! "#*!
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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
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3.2.1 Inclusion The Government Gree
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The Learning Support Unit at Cotten
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The school focuses on individual le
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alcohol or drug addictions, many ar
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all students in music therapy is to
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asked if he could take one of the w
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Figure 3.4.2 After the bike worksho
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3.5 Music therapy and the education
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eginning I used to talk to staff as
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many of these students can seem dir
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others to hear what is being played
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CHAPTER 4 (WITH DVD) AN APPROACH TO
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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
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Page 113 and 114: Vignette 4.5 Gary, 15, wanted to si
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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
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Page 145: e shared out between them. As the p
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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Page 173 and 174: hand, CVC students are all settled
Page 175 and 176: 6.5 Findings from the music therapy
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Page 179 and 180: All nine students felt that at leas
Page 181 and 182: Table 6.5d.III (in appendix 6.5d) s
Page 183 and 184: Figure 6.6.2 The change scores from
Page 185 and 186: 6.7 Findings from school attendance
Page 187 and 188: CHAPTER 7 KEY FINDINGS FROM THE QUA
Page 189 and 190: Table 7.1 Themes from the predeterm
Page 191 and 192: Figure 7.2.1 How do you express you
Page 193 and 194: Daniel said he did “nothing” to
Page 195 and 196: 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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