Derrington 2012 thesis.pdf - Anglia Ruskin Research Online

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taken place in collaboration with the Institute of Education (University of London), The Cottenham Academy and <strong>Anglia</strong> <strong>Ruskin</strong> University. 1.5.1 The research questions My main research question which came from my clinical practice and which this research study answers is: Does music therapy help to improve the emotional well-being of adolescents who are at risk of underachievement or exclusion The sub-questions are: Does music therapy increase self-esteem, improve integration with peers and motivate adolescents to learn Does music therapy make a noticeable impact on attendance and behaviour Does music therapy reduce anxiety Does any impact from music therapy have a lasting effect once the therapy sessions have finished The exploration of my clinical work and these specific questions were the main motivation for my investigation. The fact that students are motivated to attend voluntarily and engage in the sessions, when their instinctive reaction is to resist provides strong evidence for the effectiveness of music therapy. Vulnerable and ‘atrisk’ students often give up on most things before they even try them and being consistently non-compliant is typical of disaffected students who do not become involved in school, whether in classroom learning or through leisure activities. Why then do most of them commit to music therapy I was particularly interested in the students’ views on music therapy given in the interviews, and to hear from them of their understanding and evaluation of the approach that is offered in music therapy. ! "'!
1.5.2 Overview of methodology In order to answer the research questions, the study used a mixed methods design. Students were put into two groups A and B, and received the same treatment but consecutively. Thus, group A received 20 weeks of individual music therapy sessions after which group B began their block of 20 weekly, individual sessions. All of the students completed questionnaires, including categories which explored their self-esteem, anxiety levels, anger, attitude to school and perception of their behaviour. These were completed at four points in time over a period of 19 months. Such repeated data measures aimed to show any effect that music therapy made. As part of the quantitative data collection, teachers were also asked to complete questionnaires at the same points in time as the students. Their questions corresponded to the categories given to the students but also included others relating to the students’ ability to organise themselves and accept discipline. Other data were retrieved from school attendance registers, and records of incidents of challenging behaviour including periods of exclusion. For the qualitative data, students were interviewed before and after their block of music therapy in a semi-structured way to give students opportunity to chat in an informal way as well as answer a few questions. As many of the students have complex social, emotional and/or behavioural difficulties, such an approach was designed to be as easy as possible for them. A full description of the design and method is presented in chapter five. 1.6 Conclusion This chapter has outlined how music therapy research originated from my clinical practice with adolescents at The Cottenham Academy. The next chapter reviews the literature that puts this research into context. Chapter three examines the two school settings in detail and looks at some of the challenges of working in an educational and target-based environment. Chapter four focuses on my approach and offers a detailed description, with DVD examples and vignettes, of the clinical work. This adheres to the design of the study which is explained in chapter five. The subsequent two ! "(!
Page 1 and 2: ANGLIA RUSKIN UNIVERSITY MUSIC THER
Page 3 and 4: Marion Long Thank you for conductin
Page 5 and 6: 2.4 Arts therapies for adolescents
Page 7 and 8: 5.3.3 Recruitment and grouping ....
Page 9 and 10: 7.7.2 On talking, playing and being
Page 11 and 12: COPYRIGHT Music Therapy for Youth a
Page 13 and 14: LIST OF FIGURES Chapter 3 Figure 3.
Page 15 and 16: Figure 7.5.3 Do you think you get e
Page 17 and 18: LIST OF TABLES Chapter 5 Table 5.2
Page 19 and 20: CHAPTER 1 INTRODUCTION 1.1 Introduc
Page 21 and 22: 1.2 Adolescence and adolescent cult
Page 23 and 24: Comments on an article concerning t
Page 25 and 26: week. He was quite happy to have th
Page 27 and 28: (Grimshaw, 1996). Although this ter
Page 29 and 30: start. However, school files which
Page 31 and 32: When there is emotional distress, t
Page 33: and counter-transference. In chapte
Page 37 and 38: CHAPTER 2 LITERATURE REVIEW 2.1 Int
Page 39 and 40: 2.2.1 Literature on adolescents and
Page 41 and 42: influence or impress others as a me
Page 43 and 44: how it can ‘enhance a variety of
Page 45 and 46: 2.3.1 Descriptive articles In a pub
Page 47 and 48: De Backer (1993), in his account of
Page 49 and 50: with authority figures, even gangin
Page 51 and 52: threatening for the adolescents who
Page 53 and 54: Recurring themes in drama therapy a
Page 55 and 56: In the UK, a randomised, controlled
Page 57 and 58: acquire musical skill. ‘First and
Page 59 and 60: 2.7.1 Descriptive articles There ar
Page 61 and 62: emotional and behavioural problems
Page 63 and 64: school time and attendance was high
Page 65 and 66: The sessions aimed to increase the
Page 67 and 68: are, whatever educational setting t
Page 69 and 70: had an impact on music therapy and
Page 71 and 72: 3.2.1 Inclusion The Government Gree
Page 73 and 74: The Learning Support Unit at Cotten
Page 75 and 76: The school focuses on individual le
Page 77 and 78: alcohol or drug addictions, many ar
Page 79 and 80: all students in music therapy is to
Page 81 and 82: asked if he could take one of the w
Page 83 and 84: 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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Table 6.5d.III (in appendix 6.5d) s
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Figure 6.6.2 The change scores from
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6.7 Findings from school attendance
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CHAPTER 7 KEY FINDINGS FROM THE QUA
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Table 7.1 Themes from the predeterm
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Figure 7.2.1 How do you express you
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Daniel said he did “nothing” to
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7.4 Students’ attitudes to school
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given respect, but if the student h
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Figures 7.5.2 and 7.5.3 show a most
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thought about the future after musi
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7.7 Students’ thoughts on music t
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7.7.1 On improvising “Yeah lettin
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went on: “It’s like let the str
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and control, and maybe explains why
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year ten, which directly coincided
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7.7.5 On the impact of music therap
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therapy does, it really does open u
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CHAPTER 8 CASE STUDIES 8.1 Introduc
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way, were able to comment with unde
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He started to be more honest in ses
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John’s results were remarkable fo
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8.6 Case study 5: David David’s s
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CHAPTER 9 DISCUSSION AND CONCLUSION
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7. Positive effects of music therap
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how they raise difficult issues rel
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9.3 Reflections on the method The c
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esults because this was my instinct
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All the students’ responses to th
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feelings of anxiety It is also poss
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Lastly, there is the possibility th
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caution. These young people with an
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9.7 Looking Ahead Collaboration wit
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REFERENCES Aasgaard, T., 2005. Assi
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Baker, F. and Jones, C., 2005. Hold
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Breslow, N., 1981. Odds ratio estim
Page 253 and 254:
Cole, T., 1998. Understanding chall
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DCSF, 2010. Pupil absence in school
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Dowling, E. and Osbourne, E. 1994.
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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
Page 267 and 268:
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
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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