Derrington 2012 thesis.pdf - Anglia Ruskin Research Online

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Finally, a fourth student had to be withdrawn from the project: Clare in group A from The Centre School. She received 20 sessions of music therapy and was prepared for the sessions to end however, at the time, her home situation was chaotic and she was extremely vulnerable. There was much discussion with her teachers and other support staff. Together it was agreed that it was unethical to keep her from having further sessions just because she was part of the research study. As a result she was offered ongoing music therapy and was withdrawn from the project. Stuart, from The Centre School, was not a dropout and did not withdraw from the study but he was unable to complete the fourth round of data collection because he left school in June when he turned 16. The circumstances of four students resulted in slightly reduced data for the project. Despite this, the fact that 21 out of 22 students (95%) wanted to stay in the project which lasted longer than 18 months, and that of these 17 students (81%) were able to participate to the end, is a remarkable outcome. These high percentages of treatment adherence are extraordinary because students with emotional and behavioural difficulties often resist engaging and find it difficult to commit to anything. 6.2 Findings from the Beck Inventories for Youth: comparing results before and after music therapy Does music therapy help to improve the emotional well-being of adolescents who are at risk of underachievement or exclusion This main research question was answered by analysis of the data from the change scores in the three Beck Youth Inventories: (1) The Beck Self-Concept Inventory for Youth (BSCI), (2) The Beck Anxiety Inventory for Youth (BAI) and (3) The Beck Disruptive Behaviour Inventory for Youth (BDBI). These are included as appendices 6.1g - 6.1i. The raw scores from the Beck Inventories for Youth were calculated by adding up each item’s score where Never = 0, Sometimes =1, Often =2 and Always =3. These total raw scores were then converted into T scores to allow profiling across scales to show a continuum of degrees of severity (Beck et al. 2005, p.19) because T scores provide a comparison of each individual to their norm group where they would be ! "$'!
expected to score, based on their gender and age. The tables in appendix 6.2b show the severity levels according to the Beck Inventories and the students’ scores, together with their reference to the Beck clinical ranges, are presented in appendix 6.2c -6.2e. Graphs showing each student’s scores are included as appendices 6.2a.1 - 6.2a.21. The T scores (appendix 6.2a) were used for all data analysis of the Beck given in this section, 6.2, which is separated into sections of descriptive statistics and followed by inferential statistics and a conclusion. 6.2.1 The Beck Self-Concept Inventory for Youth: descriptive statistics The difference between The Centre School students’ scores of self-concept from before to after music therapy are shown in figure 6.2.1.1. Figure 6.2.1.1 Centre School students: the difference between scores in pre- and posttests for BSCI Change score #&! #+! "&! "+! &! +! C&! C"+! C"&! C#+! Change scores for BSCI Centre School Individual students Change in BSCI score This graph shows that a large proportion of students (67%) scored their self-concept as worse after music therapy than before. One student (8%) made no change and three students (25%) showed improvement. Therefore, most students scored their selfconcept as lower after music therapy and fewer scored higher which could be seen as a negative result. However, it could also be seen as a positive result in the sense that students have become more self-aware and are able to answer more honestly. ! "$(!
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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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particularly well with adolescents
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Rogers’ methods, and the form of
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my approach has been shaped by the
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time!” he shouts and I react “T
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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
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: part of the project (9.3.1). Overal
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
Page 171 and 172: are presented in this section as ba
Page 173 and 174: hand, CVC students are all settled
Page 175 and 176: 6.5 Findings from the music therapy
Page 177 and 178: Table 6.5d.ii (in appendix 6.5d) sh
Page 179 and 180: All nine students felt that at leas
Page 181 and 182: Table 6.5d.III (in appendix 6.5d) s
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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
Page 197 and 198: given respect, but if the student h
Page 199 and 200: Figures 7.5.2 and 7.5.3 show a most
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Page 203 and 204: 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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