Derrington 2012 thesis.pdf - Anglia Ruskin Research Online

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Did you feel listened to All the students responded positively to this question and some expanded on it. Chris from The Centre School said: “Really good. Better than I ever felt before” (appendix 7.1.24, p.385), and Jamie confirmed: “Yeah, she understood. She heard me out whereas most people wouldn’t” (appendix 7.1.26, p.401). Students at CVC also said how it felt: “Like you had someone to talk to, like who listened, not like laugh at what you said. That’s good” (Andrew, appendix 7.1.32, p.460); “Um nice. Someone’s talking about my stuff” (Daniel, appendix 7.1.2, p.202); “Made me feel like that someone’s listening to me and not ignoring me anymore” (Joe, appendix 7.1.10, p.271); “Yeah cos she was like really nice and always understood what I said. And if she didn’t understand she’d try and understand why or whatever” (David, appendix 7.1.28, p.419). All these comments indicate that students valued the relationship with the therapist and felt heard and accepted. Feeling listened to is the crucial starting part of the therapeutic process from which trust and understanding develop. 7.7.3 On describing the difference between music therapy and other lessons “Yes! It’s a lot of fun!” (John, appendix 7.1.38, p.507). In an attempt to explore the students’ feelings about sessions even further, one question aimed to help students think about what it was that was different in music therapy to other lessons. All students had an opinion on this as school lessons generally incited strong feelings. Ollie said music therapy felt exhilarating but he felt it was still like teaching because it was at school. Rory said that I was like a teacher but “still different though, she’s not making you do work ’n that” (appendix 7.1.36, p.491). The sense of fun and use of humour (4.4.1.3) recurred in many conversations. Rory said it was fun (appendix 7.1.36, p.490) and Tom said it was different: “you get to do… mess about, in lessons you don’t” (appendix 7.1.8, p.250). This sense of freedom was reiterated by others: “It’s more relaxing…Play what you want” (Mark, appendix 7.1.4, p.217). Just as some mentioned when they talked about their interests, this feeling of being free seems to stem from a sense of having choice ! "*+!
and control, and maybe explains why they attend sessions so readily. Creating choice, another aspect of the student-centred approach (4.2), was commented on by many students: “It made quite a difference knowing that you can have freedom of choice basically” (David, appendix 7.1.28, p.420). A theme that emerged was how being actively involved and able to take the lead in sessions was important and some students said that this felt unusual. Andrew said that music therapy was different and gave him a special feeling: “It’s kind of like when you help someone out you get that feeling, that real good feeling that you’ve helped someone out, it’s like the real good feeling. I’ve never left music therapy and thought that was bad, I’ve always left and thought oh yeah that was enjoyable, I enjoyed it” (appendix 7.1.32, p.457). 7.7.4 On the impact of music therapy: CVC students “It makes you feel better about going to school as well. It makes you feel pretty much a lot more better about everything I would say” (Harry, appendix 7.1.12, p.282). When students were asked about how they felt music therapy had helped them, most of the students from CVC were able to describe considerable change they had noticed in themselves and 30% felt that changes had an on-going effect even after sessions had finished. The interviewer asked the students questions about these changes, how quickly they had come about and whether others had noticed them too. This expressive and eloquent data from boys who only speak in short utterances at other times was unexpected and very moving. In the following interview excerpt, Guy (appendix 7.1.6, p.232) shows his insight into how drumming relieved his feelings of anger and frustration, which led to change: So tell me about what it’s like just playing “It’s good. You can take all your anger out on it”. Ah. How do you do that “Banging the drums”. […] And why does your anger come out in that way ! "*"!
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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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expected to score, based on their g
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Page 227 and 228: CHAPTER 9 DISCUSSION AND CONCLUSION
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Page 233 and 234: 9.3 Reflections on the method The c
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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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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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