Derrington 2012 thesis.pdf - Anglia Ruskin Research Online

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“Sadness…That’s it really” Yeah. And what came along instead “Um, happiness, fun. Like that” (appendix 7.1.2, p.200). A supportive structure to improvisation (4.4.1.1) was crucial to some students. Andrew stressed the sense of fun and purpose in improvisations: “It’s good to feel like you’re inventing something, developing and building on improvisations each week…I felt like I’d achieved something that I didn’t have” (appendix 7.1.32, p.457). Other students also talked about achievement (7.7.4). The sense of enjoyment from having someone else to play with, the musical support of the therapist and being able to play and make things up together was clear: “I haven’t really done like guitars but when someone’s playing a different instrument beside you then that is like a bit better…I didn’t know the guitar could make such a good noise with someone else playing in the background…Cos if someone else is playing, it sort of helps you concentrate and get into the tune more that someone else is playing” (Ollie, appendix 7.1.30, p.439). 7.7.2 On talking, playing and being listened to “Playing the drums…and being able to talk to someone about anything you want” (David, appendix 7.1.28, p.421). As discussed in chapter four, students are encouraged to talk before playing (4.4.6) and some students mentioned this and the freedom to play, chat or listen, as they reflected on their sessions. “Before we play drums, or whatever, we talk about stuff that’s happened in the week” (Rory, appendix 7.1.36, p.491) and he said it felt good. This mixture of talking and playing seemed to be an important aspect of sessions. Having space to talk in confidence was referenced by several students but having instruments to play and being able to communicate in this different way was significant to their enjoyment of sessions. Joe said: “Like I thought it would be just sitting around talking for an hour but I got to like express myself and play music and all of that. Like in a happy way not a boring way” (appendix 7.1.10, p.273). David ! "))!
went on: “It’s like let the stress out. Not at her, just like let it out mentally. Just talk to her about it and stuff. So it got that out the way basically” (appendix 7.1.28, p.420). Several students referred to the importance of confidentiality offered in individual sessions. David described it in detail and felt that having instruments also made a big difference: “Cos of like been to one or two lesson things where they try talk about your problems, I can’t remember what it’s called, anger management or something, and it was just literally sitting down talking about things and like not much to do. So I tried that, didn’t really like it. Then music therapy was completely different. You can do things you want to, like play drums and do whatever, talk about things a lot simpler than in group. Like sometimes you just want to keep things between two people don’t you so. It was just like that really” (appendix 7.1.28, p.420) He felt the combination of talking openly and playing shared rhythms had helped him: “Um it’s really good. You can just sit down and talk about things. Like where I am to like basically worry about it. Cos she’s really nice to talk to. And you can talk about anything really. And it’s like play on the drums and stuff and find new beats and stuff like that basically” (appendix 7.1.28, p.418). Harry also said that he enjoyed playing more when it involved conversation as well: “I think talking with the drums has made it even better…It’s made me feel sort of like the drums are there for me in a way” (appendix 7.1.12, p.285). He felt that it was the combination that helped: “It’s completely free and that’s what I like about it…music therapy has helped massively” (appendix 7.1.12, p.283). It was interesting that, when two students compared music therapy to anger management, they preferred the physical act of playing music and the fun element, rather than just sitting and talking. The combination of having ordinary conversation, freedom to choose, to think and discuss something in particular, and time to be musically creative is the reason music therapy is so successful with this age group. ! ")*!
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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
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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
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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
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Page 169 and 170: Figure 6.3.3 Difference in groups
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Page 181 and 182: Table 6.5d.III (in appendix 6.5d) s
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Page 187 and 188: CHAPTER 7 KEY FINDINGS FROM THE QUA
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Page 195 and 196: 7.4 Students’ attitudes to school
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Page 217 and 218: CHAPTER 8 CASE STUDIES 8.1 Introduc
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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
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Page 233 and 234: 9.3 Reflections on the method The c
Page 235 and 236: esults because this was my instinct
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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
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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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