Derrington 2012 thesis.pdf - Anglia Ruskin Research Online

More documents

Recommendations

Info

$Repeatability and Validity of the PowerRefractor and the Nidek ...$

6.2.2 The Beck Anxiety Inventory for Youth: descriptive statistics The difference in the students’ scores using the Beck Anxiety Inventory (BAI) were also compared before and after music therapy but these change scores were collated in descending order, so that the decrease in anxiety related to improvement in the student’s emotional well-being. Figure 6.2.2.1 shows an even spread across the increase and decrease in scores of change in levels of anxiety after music therapy for students at The Centre School. Figure 6.2.2.1 Centre School students: the difference between scores in pre- and posttests for BAI Change score 25 20 15 10 5 0 -5 -10 -15 -20 Change scores for BAI Centre School Individual students Change in BAI scores The pattern is much flatter than was seen in the previous inventory for self-concept (6.2.1.1) and the change scores hardly vary. John, who showed the greatest decrease in anxiety, is an outlier because the impact of music therapy was particularly significant for him (8.4). The graph suggests that the students have tended to take the middle option (where 1 = sometimes or 2 = often) offered in the questionnaires because there is no evidence of students giving distinctive positive or negative results. This is known as tending to the norm. It may be that the students answered in this way because they did not want to be seen as anxious (9.3.3.1). Figure 6.2.2.2 shows the change scores for CVC after music therapy. ! "%+!
Figure 6.2.2.2 CVC students: the difference between scores in pre- and post-tests for BAI Change score #&! #+! "&! "+! &! +! C&! C"+! C"&! C#+! Change scores for BAI CVC Individual students Change in BAI scores Three CVC students showed clear reduction in anxiety levels and Joe scored the greatest improvement, three students recorded little change and three others considered their anxiety to have increased. The CVC students have a greater spread of results than those from The Centre School which suggests that they have not tended to the norm. The statistics in table 6.2.4 summarise the findings for the change scores in anxiety. They reveal that without John the standard deviation is half as spread out for The Centre School as at CVC. It only varies by 3.62 whereas CVC varies by 6.96. It is interesting that Joe made the most significant improvement in self-reported levels of anxiety, although he scored the lowest in self-concept (8.3) The table shows the modified data without Joe, as before, and without John who is another outlier. ! "%"!
Page 1 and 2:
ANGLIA RUSKIN UNIVERSITY MUSIC THER
Page 3 and 4:
Marion Long Thank you for conductin
Page 5 and 6:
2.4 Arts therapies for adolescents
Page 7 and 8:
5.3.3 Recruitment and grouping ....
Page 9 and 10:
7.7.2 On talking, playing and being
Page 11 and 12:
COPYRIGHT Music Therapy for Youth a
Page 13 and 14:
LIST OF FIGURES Chapter 3 Figure 3.
Page 15 and 16:
Figure 7.5.3 Do you think you get e
Page 17 and 18:
LIST OF TABLES Chapter 5 Table 5.2
Page 19 and 20:
CHAPTER 1 INTRODUCTION 1.1 Introduc
Page 21 and 22:
1.2 Adolescence and adolescent cult
Page 23 and 24:
Comments on an article concerning t
Page 25 and 26:
week. He was quite happy to have th
Page 27 and 28:
(Grimshaw, 1996). Although this ter
Page 29 and 30:
start. However, school files which
Page 31 and 32:
When there is emotional distress, t
Page 33 and 34:
and counter-transference. In chapte
Page 35 and 36:
1.5.2 Overview of methodology In or
Page 37 and 38:
CHAPTER 2 LITERATURE REVIEW 2.1 Int
Page 39 and 40:
2.2.1 Literature on adolescents and
Page 41 and 42:
influence or impress others as a me
Page 43 and 44:
how it can ‘enhance a variety of
Page 45 and 46:
2.3.1 Descriptive articles In a pub
Page 47 and 48:
De Backer (1993), in his account of
Page 49 and 50:
with authority figures, even gangin
Page 51 and 52:
threatening for the adolescents who
Page 53 and 54:
Recurring themes in drama therapy a
Page 55 and 56:
In the UK, a randomised, controlled
Page 57 and 58:
acquire musical skill. ‘First and
Page 59 and 60:
2.7.1 Descriptive articles There ar
Page 61 and 62:
emotional and behavioural problems
Page 63 and 64:
school time and attendance was high
Page 65 and 66:
The sessions aimed to increase the
Page 67 and 68:
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 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 and 154: part of the project (9.3.1). Overal
Page 155 and 156: expected to score, based on their g
Page 157: Table 6.2.3 Summary statistics of a
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
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
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
Page 201 and 202: thought about the future after musi
Page 203 and 204: 7.7 Students’ thoughts on music t
Page 205 and 206: 7.7.1 On improvising “Yeah lettin
Page 207 and 208: went on: “It’s like let the str
Page 209 and 210:
and control, and maybe explains why
Page 211 and 212:
year ten, which directly coincided
Page 213 and 214:
7.7.5 On the impact of music therap
Page 215 and 216:
therapy does, it really does open u
Page 217 and 218:
CHAPTER 8 CASE STUDIES 8.1 Introduc
Page 219 and 220:
way, were able to comment with unde
Page 221 and 222:
He started to be more honest in ses
Page 223 and 224:
John’s results were remarkable fo
Page 225 and 226:
8.6 Case study 5: David David’s s
Page 227 and 228:
CHAPTER 9 DISCUSSION AND CONCLUSION
Page 229 and 230:
7. Positive effects of music therap
Page 231 and 232:
how they raise difficult issues rel
Page 233 and 234:
9.3 Reflections on the method The c
Page 235 and 236:
esults because this was my instinct
Page 237 and 238:
All the students’ responses to th
Page 239 and 240:
feelings of anxiety It is also poss
Page 241 and 242:
Lastly, there is the possibility th
Page 243 and 244:
caution. These young people with an
Page 245 and 246:
9.7 Looking Ahead Collaboration wit
Page 247 and 248:
REFERENCES Aasgaard, T., 2005. Assi
Page 249 and 250:
Baker, F. and Jones, C., 2005. Hold
Page 251 and 252:
Breslow, N., 1981. Odds ratio estim
Page 253 and 254:
Cole, T., 1998. Understanding chall
Page 255 and 256:
DCSF, 2010. Pupil absence in school
Page 257 and 258:
Dowling, E. and Osbourne, E. 1994.
Page 259 and 260:
Fruchard, G. and Lecourt, E., 2003.
Page 261 and 262:
Hallam, S. and MacDonald, R., 2009.
Page 263 and 264:
Ierardi, F. and Jenkins, N., 2012.
Page 265 and 266:
Koshland, L., 2010. PEACE through d
Page 267 and 268:
S.Hadley and G. Yancy, eds. Therape
Page 269 and 270:
Miller, A., 1997. The drama of bein
Page 271 and 272:
Parsons, R., 2009. Teenagers! What
Page 273 and 274:
Bruscia, ed. 1991. Case studies in
Page 275 and 276:
Children and Adolescents. Preventio
Page 277 and 278:
Triangle and Coram, 2011. Music The
Page 279:
Wigram, T., Lumley, J. and Steen, C
show all

Derrington 2012 thesis.pdf - Anglia Ruskin Research Online

Create successful ePaper yourself

Delete template?

Save as template?