Derrington 2012 thesis.pdf - Anglia Ruskin Research Online

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Figure 7.4.2 Is there enough respect in schools for young people The responses from CVC students Before music therapy After music therapy 11% 11% Yes Some 17% 16% Yes Some 78% Don't know 67% Don't know It is possible that after music therapy students have a more solid sense of self and are therefore able to consider this question in greater depth. This would explain the decrease in their positive response. However, The Centre School students who generally have much greater complex emotional needs will not have reached this depth of understanding because they are only just becoming aware of their own emotions and unlikely to be as emotionally literate. For many mainstream students, their understanding of respect was based on their experience of strict school rules and teachers’ insistence on following them through, which could explain the difference between their answers and those from The Centre School. This indication that the majority of students from both schools felt respected and therefore valued should therefore, according to Cooper (1993), mean that they have the maximum chance at school of being motivated and encouraged to learn. This brief assessment of the school setting (and also the setting for therapy) was important to the study because the link between respect and student motivation can be key to a student’s chances and healthy emotional well-being at school. One student reflected on respect among his peers and felt that teachers did not understand young people “as much as we understand each other” (Guy, appendix 7.1.5, p.224). Another felt that adults usually knew more and should therefore be ! "()!
given respect, but if the student happened to know more, about computers for example, the adult should listen to the student (Harry, appendix 7.1.11, p.276). After music therapy, students were asked if they had enjoyed school since the previous interview and whether anything had got better or worse (figure 7.4.3). Although none of the students cited music therapy at this point, it is interesting that 43% had enjoyed school since the previous interview and 25% felt that school had improved. Figure 7.4.3 Have you enjoyed school since we last met Has it got better or worse Students’ responses Students' responses after music therapy Number of students 9 8 7 6 5 4 3 2 1 0 Yes No Better Same Worse Don’t know Student's response Centre CVC None of the CVC students felt school had got worse whereas one Centre School student did. Overall, however, the students had enjoyed school and more than 58% felt that school was better. Several students were open to discussing their feelings about school. Five from The Centre School drew comparisons between their current school and previous ones they had attended and they all preferred the smaller class sizes, unlike at mainstream schools. ! "(*!
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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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a free-flowing stream of expression
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Music is often related to on an emo
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Subsequently he was able to share h
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Adolescents who are not sure of the
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It is important to address the use
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Vignette 4.5 Gary, 15, wanted to si
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to me and say “that’s it”. To
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Then, in his sixth session he stopp
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Figure 4.4.6 Rose’s drawing She s
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Gerald in the story, the most remar
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letting them rule, can feel chaotic
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CHAPTER 5 METHODOLOGY 5.1 Introduct
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Table 5.2 Overview of the design an
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Group B could be considered as a wa
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5.3 Participants Students at risk o
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Figure 5.3.3 Recruitment and groupi
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students’ choosing. The work vari
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The Beck Youth Inventories of Emoti
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School generally find reading more
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Effort was made to match the subjec
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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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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: 7.4 Students’ attitudes to school
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
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Page 213 and 214: 7.7.5 On the impact of music therap
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Page 217 and 218: CHAPTER 8 CASE STUDIES 8.1 Introduc
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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
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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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