Derrington 2012 thesis.pdf - Anglia Ruskin Research Online

CHAPTER 8
CASE STUDIES
8.1 Introduction
The contribution of case studies and anecdotal evidence is vital because it offers
insight into the experience and process of music therapy which cannot be fully
reflected in quantitative data (Radhakishnan, 1981; Hooper,1993; Elliott, 2005;
Kenny, 2005). It is essential to describe the therapeutic process because ‘the way
people respond in a therapeutic situation is determined by the way in which they
understand the situation’ (Aldridge, 2005b, p.13). Therefore, to neglect to mention
elements of the setting, the process and the approach is to ignore aspects of the work
that were meaningful to the students.
Case studies were not selected and analysed as part of this research study, that is, case
study designs were not used as a research strategy based upon empirical investigation
(Aldridge, 2005a). However, they are included here alongside the other findings
because they present a compelling account of the adolescent’s experiences in music
therapy. ‘Our patients tell us dramatic stories and these need to be reflected in the
research that we do…Music therapy is a social activity’ (Aldridge, 2005b, p.13).
Although the students were referred to the project because they were at risk of
underachievement or exclusion, they all had very different needs. Research needs to
be consistent but music therapy is always about the individual which is why five
individual stories are given, including those of the outliers from the quantitative data
results: Clare, Joe and John. Two extended case studies are presented in the
appendices (8.1 and 8.2).
8.2 Case study 1: Clare
Music therapy essentially provided a space for Clare, 13, to think, sing, chat and be
heard. Most of all, she liked performing and being creative. Sessions felt free and
spontaneous which was at odds with life at home which did not allow her space to be
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