Derrington 2012 thesis.pdf - Anglia Ruskin Research Online

5.9.2 Thematic review of interviews
All the interviews were audio recorded and an additional back-up recording was
made but deleted when one was successfully saved. The interviews were then
transcribed into written form as accurately and truthfully as possible. I did this after
the clinical work had finished. There were 43 interviews lasting an average length of
25 minutes each. As I knew the students well, I was able to tune in to the students’
language which made the task a bit easier, although it was a lengthy process. The
transcriptions, including scans of any drawings which were made, are included as
printed appendices (7.1.1- 7.1.43).
Transcription software (Express Scribe Transcription Software, NCH) and a foot
pedal to control the recording were used. Where a word was inaudible or unclear, it
was marked on the transcription. Pauses in the flow of verbal interaction were marked
with dots but no other detail was given to hesitation or intonation because this could
not be analysed in this research investigation. The transcripts were checked back for
accuracy against the original recordings.
A rich thematic description set was chosen as the form of analysis. Braun and Clarke
(2006) identified this method for areas that are under-researched and where the views
of participants are not known. It has already been argued that young people with
emotional and/or behavioural difficulties have not been asked their opinions about
music therapy in a research study such as this. Therefore, the identification of themes
that could reflect the contents of the entire data set was an appropriate means of
analysis and the decision to make generalisations was part of the strategic, analytic
thinking (Coffey and Atkinson, 1996). Whilst this may not show every different
opinion of the students, it does provide an overview and rich description of the client
group and setting (Gibbs, 2007) which is new to music therapy literature.
5.9.3 Note-taking
As well as the interview transcriptions, notes were made after each session, as in
usual music therapy practice and contributed to the qualitative data set. These notes
included my thoughts after a session, detail of the music and the student’s ideas and
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