Derrington 2012 thesis.pdf - Anglia Ruskin Research Online

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ACKNOWLEDGEMENTS So many people helped to make this project possible. My thanks go to:- The Students Who Took Part Thank you for managing so many questionnaires, for talking so openly and helping us create a good case for more music therapy. Amelia Oldfield Thank you for your generosity of time and supervision, unfailing enthusiasm and support, for teaching me that sound research comes from good clinical work and encouraging me to go for it! Helen Odell-Miller Thank you for your supervision, encouragement and insight, for faith in the work and keeping the Youth at Risk project real. Tony Wigram (late) Thank you for having the vision and wisdom which not only inspired The Music Therapy Charity to care enough for youth at risk, but also encouraged me to pursue my questions. The Senior Leadership Team at The Cottenham Academy Thank you for backing this project and believing in me and the work. In particular, I would like to thank Sue Raven, head teacher of The Centre School, for her amazing support. The Music Therapy Charity Thank you for funding this research and sponsoring me generously so that I could also present at conferences internationally. Susan Hallam Thank you for supporting the Youth at Risk project and introducing the expertise of Marion Long. ! ""!
Marion Long Thank you for conducting such thoughtful and creative interviews, and coping so brilliantly with the unpredictable. Emma May Thank you for all your time, wine and support, for making statistics understandable and even quite enjoyable! Phyllis Champion Thank you for doing a great job of proof-reading and sharing the merriment whilst pouring over the finer points of the English language. Teaching staff at The Centre School and Cottenham Village College Thank you for supporting the project and completing umpteen questionnaires. Clem Earle Thank you for helping me get to grips with the school’s data system. Katharine and James Blandford-Baker Thank you for your kindness, help with that all-important application and support for all things Mac! Emma, Jeremy, Rosie and Fearnley Lovell THANK you thank YOU thank you THANK YOU! Nicky Haire .lap last the on there being for and tap on whisky, moon the to path the on ramblings essential for you Thank Anna und Gerd Danke für die tolle Kaffeemaschine. Die hat mir jeden Tag geholfen! Mum and Dad THANK YOU for your constant support, mootivation and interest, for all the readings, listenings, puttings-up-with and fairy duty. ! """!
Page 1: ANGLIA RUSKIN UNIVERSITY MUSIC THER
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
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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
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school time and attendance was high
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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
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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
Page 89 and 90:
many of these students can seem dir
Page 91 and 92:
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
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e shared out between them. As the p
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Table 5.9.1 Topics set out in the i
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5.9.2 Thematic review of interviews
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CHAPTER 6 KEY FINDINGS FROM THE QUA
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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
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Figure 6.2.3.1 Centre School studen
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students scored in the average rang
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perception of disruptive behaviour
Page 167 and 168:
6.3.1 The Beck Self-Concept Invento
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Figure 6.3.3 Difference in groups
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are presented in this section as ba
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hand, CVC students are all settled
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6.5 Findings from the music therapy
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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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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
Page 199 and 200:
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
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
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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
Page 225 and 226:
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
Page 231 and 232:
how they raise difficult issues rel
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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
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