Derrington 2012 thesis.pdf - Anglia Ruskin Research Online

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particularly, but there’s fuck all that will help me” (appendix 7.1.26, p.397). Yet, after this immediate response, he felt that there were benefits to music therapy: sessions got him out of lessons and, he added, “you go in, we chat about home, school all that sort of stuff and like we’d also listen to music, play the drums, violin and stuff like that. Been like quite good” (appendix 7.1.26, p.400). Jamie’s self-esteem was rock bottom before music therapy: “Normally I don’t tend to keep friends for very long cos I’m not very much of a likeable person” (appendix 7.1.25, p.395) but he felt that music therapy was about learning how to express himself (p.400) and good for “listening to music really loud... Like I’m not just sat in a room sitting down at a table, I’m doing things that are like more physical and fun” (appendix, 7.1.26, p.400). 7.7.6 On telling other people about music therapy “It’ll change your feelings very quickly…you won’t feel any sadness anymore” (Daniel, appendix 7.1.2, p.201). If you were going to explain to somebody what to expect of music therapy what would you say When students were asked this question, it was interesting to hear how many said that there was no need to worry. This seemed to reveal some of their own anxieties before they began music therapy as well as their feeling that attending music therapy was not stressful. Others captured the element of confidentiality and said that they felt students should try it and find out for themselves. Several students emphasised the amount of fun. Daniel felt sure others would want to do it but it would be good to reassure them: “it doesn’t matter if you can’t play an instrument, you don’t even have to be able to, to do that” (appendix 7.1.2, p.203). Some students took this as an opportunity to say that music therapy was useful: “Music therapy is good and more people should be doing it” (Andrew, appendix 7.1.32, p.462). Harry was the only student who mentioned telling his family about music therapy. His brother could always express himself, he said: “L’s quite an open, nice person, which is sort of how I want to be and he’s learnt that from expressing himself. Just like music therapy…So music ! "*'!
therapy does, it really does open up an opportunity to make you one of those people that can express themselves” (appendix 7.1.12, p.290). Two Centre School students had used their DVD, made in sessions, as another way of sharing their experience with family members but they did not talk about this in their interviews. This shows that the work’s boundaries are still effective and any recordings or discussion of the work are generally shared carefully. Would you like to carry on with music therapy once this research project is over All students who answered this question responded positively. Their optimism, as they had shown in their feelings about the future (7.5), confirmed an ability to look ahead and make a choice 51 . 7.8 Conclusion The interviewer was surprised how ready students were to talk to her and trust her with sensitive information in their first interviews even though she was a stranger to them. Many students were quick to disclose lots of information and spoke openly about their past, their failings, their school exclusions and reasons for them, with little sense of self-regard and boundaries. In the second interviews, the interviewer felt that students were more guarded with their answers and censored how much they were prepared to share. Their responses had become more socially appropriate to someone that they do not know very well and were, arguably, a result of therapy. In general, she felt that students were more self-assured and their behaviour also reflected greater confidence in themselves. Whilst CVC students talked about achievement, increased concentration levels and how their improved well-being impacted on others such as friends and teachers, The Centre School students reported on the satisfaction of getting to a good place with !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! &" !Of the twelve Centre School students who participated fully in the study, nine recommenced as soon as the project had finished. One had left school by this time and the other two were pursuing full-time vocational training off-site. ! ! "*(!
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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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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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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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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.
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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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