Derrington 2012 thesis.pdf - Anglia Ruskin Research Online

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9.2.3 CVC students The CVC students presented with a stronger sense of self to begin with and showed less change in the inventory of self-concept. They indicated greater change in levels of anxiety which seemed to show that they were more in touch with this feeling after therapy. Shipley and Odell-Miller (<strong>2012</strong>) described how music therapy was shown to help adolescent school refusers with high anxiety, referring in particular to the effectiveness of therapeutic musical improvisation to address the adolescent’s ‘changing balance between moments of chaos and calm, risk and safety, exploration and retreat’ (p.39). CVC students also generally coped better with finishing after twenty weeks and, on the whole, considered the work complete. These results are probably a reflection that CVC students have developed more appropriately for their academic age and have more emotional skills to help them cope. The CVC students are generally further ahead than The Centre School students which was demonstrated in their ability to talk in much greater depth on their experience of music therapy and the differences they felt the sessions had made. They recognised change in themselves and some found their concentration and motivation to learn had improved. This was a very important finding and supports the case for music therapy: it addresses the hypo<strong>thesis</strong> that school can be difficult for many adolescents with emotional problems which interfere with concentration, motivation and general ability to learn and can lead to disruptive and challenging behaviour (1.1). Short-term work was arguably more effective for the mainstream students than for those in the special school. Daniel (6.2.1) for example, needed the intervention as a matter of urgency and the results show that it made a noticeable difference. He stopped refusing school and attended sessions regularly for the whole twenty weeks which, along with his data, demonstrate the impact that music therapy made. Several teachers at CVC commented to me on changes they had noticed in students and the progress they were making. One teacher said: “Whatever you did it worked! He wants to learn now.” ! #"%!
9.3 Reflections on the method The chosen study design was successful because it provided reliable and valid data from this group of students. It was an appropriate way to work with the young people and to answer the research questions based on the time available. The qualitative data collection was very effective and contributed important new evidence to the field of music therapy. 9.3.1 Method limitations There were confounding variables which could have weakened confidence in the findings but they were taken into consideration and as many as possible were eliminated. 1. The study did not prohibit students from receiving other forms of help other than music therapy. This decision was based on the fact that it would have been unethical to deny a student further help for a period of two years, however, this meant that the students’ experiences varied. 2. The categorical variable of gender was not included because only one girl took part in the project. The fact that this study involved almost all boys is in line with the population of the special school (3.3.1) and arguably, a reflection that boys more regularly manifest their emotional difficulties with challenging behaviour, which leads to a greater risk of exclusion. A project involving a higher percentage of girls would enable this variable to be explored further. Indeed, a larger sample size in general would lead to more power in the statistical analysis and greater strength in the findings. 3. The groups were created by putting students who were considered to be more in urgent need of therapy into group A (5.3.3). This selection meant that certain attributes of one group were different to the other before the study began which could have affected the data and weakened the results. Although this was not ideal for research, it was ethical and representative of the nature of the work with these young people. ! #"&!
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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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students scored in the average rang
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perception of disruptive behaviour
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6.3.1 The Beck Self-Concept Invento
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Figure 6.3.3 Difference in groups
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are presented in this section as ba
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hand, CVC students are all settled
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6.5 Findings from the music therapy
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Table 6.5d.ii (in appendix 6.5d) sh
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All nine students felt that at leas
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Page 189 and 190: Table 7.1 Themes from the predeterm
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Page 195 and 196: 7.4 Students’ attitudes to school
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Page 201 and 202: thought about the future after musi
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Page 205 and 206: 7.7.1 On improvising “Yeah lettin
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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 235 and 236: esults because this was my instinct
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Page 239 and 240: feelings of anxiety It is also poss
Page 241 and 242: Lastly, there is the possibility th
Page 243 and 244: caution. These young people with an
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.
Page 261 and 262: Hallam, S. and MacDonald, R., 2009.
Page 263 and 264: Ierardi, F. and Jenkins, N., 2012.
Page 265 and 266: Koshland, L., 2010. PEACE through d
Page 267 and 268: S.Hadley and G. Yancy, eds. Therape
Page 269 and 270: Miller, A., 1997. The drama of bein
Page 271 and 272: Parsons, R., 2009. Teenagers! What
Page 273 and 274: Bruscia, ed. 1991. Case studies in
Page 275 and 276: Children and Adolescents. Preventio
Page 277 and 278: Triangle and Coram, 2011. Music The
Page 279: Wigram, T., Lumley, J. and Steen, C
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