Derrington 2012 thesis.pdf - Anglia Ruskin Research Online

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“Cos like, you take your frustration out on it. I don’t actually know, it feels weird”. Yeah. In what kind of way does it feel weird “Um, like after you do it, you don’t feel angry anymore”. Oh I see. How did that make you feel afterwards “Like calm”. Guy concluded that music therapy had, most importantly, helped him to be calmer and improve his behaviour (appendix 7.1.6, p.233). His change scores in the BSCI, BAI and BDBI before and after music therapy mirrored this change that he talked about because both his anxiety and behaviour self-reported scores went down by -10 and -6 respectively. Mark also felt that music therapy had helped his anger and behaviour in class. ‘It’s calmed me down quite a lot…I’m more sensible…I don’t mess about in class as much as I used to” (appendix 7.1.4, p.219). Andrew talked at length about how his concentration had improved with music therapy (appendix 7.1.32, p.458) and how that had helped him in lessons. He noticed that he could concentrate more and was not sent out of class as much, and that had made a big difference. “I think it’s made me concentrate and think about stuff more and actually ask questions more and like people that find lessons hard should do music therapy because it really helps with that” (appendix 7.1.32, p.462). He said he used to shout out or sit in class not understanding but not being able to ask, but he now had the confidence to put up his hand and ask for help. This made him feel much better about himself as well as consider the impact that his behaviour had on others: “I don’t want to be like that anymore cos I probably stopped a few people learning by doing that. I interrupted their learning, I feel quite bad about that” (appendix 7.1.31, p.447). He felt he was achieving more and this was noticed by teachers whose change scores were +7, -3, and +12 creating an improved average of +5.3. The change happened in ! "*#!
year ten, which directly coincided with his block of music therapy 50 . When he was asked about the speed of the change he said: “Probably like the third time I’d done music therapy I started to like… started to see it happening…Think it was gradual up to this day but now I think it’s getting better” (appendix 7.1.32, p.462). His certainty about the change being as a result of music therapy is commanding evidence of its value to students. Although Ollie’s Beck T clinical scores were all within the average range and there was little noticeable difference in his change scores, he reported a big change in his concentration in his interview. He took time to explain it to the interviewer and said that it had happened really quickly, about half-way through the block of sessions. He was surprised when he noticed that he could concentrate so much better in school and how much he had enjoyed sessions (appendix 7.1.30, p.440). Another mainstream student, David, also reported noticing a change about half-way through music therapy when he started to feel that he could manage his problems with stress more easily: “And basically I got a lot better at keeping stress in knowing that I wouldn’t flip out at someone for no reason cos of something else, so like it’s a lot easier” (appendix 7.1.28, p.422). David said that he had been in a lot less trouble since he had had music therapy and he did not feel under constant suspicion from staff: “Now I’m focused and calmed down a bit, compared to what I used to be…I feel like a better person basically” (appendix 7.1.28, p.416). This had had a knock-on effect with his friendships which, he said, had also improved. His friends had noticed a change and they did not fall out as much, so things were better: “Yeah they said I’ve changed a lot in a good way, that I don’t take my stress out on them for no reason so it’s a lot better” (appendix 7.1.28, p.422). He also felt that the change had led to a significant improvement with !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! &+ !A case study for Andrew is included as appendix 8.2. ! ! "*$!
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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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Table 6.2.3 Summary statistics of a
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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
Page 257 and 258: Dowling, E. and Osbourne, E. 1994.
Page 259 and 260: 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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