Derrington 2012 thesis.pdf - Anglia Ruskin Research Online

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viewpoints the authors collaborated on a proposed research study to investigate ‘the efficacy of music therapy with students with severe intellectual disability, a specific area identified as lacking an evidence base in terms of the standards’ (p.127). 2.7 Music therapy in schools II: for adolescents with emotional and behavioural difficulties in special schools and specialist support units Young people at risk of exclusion can benefit from using live music to express themselves with methods already mentioned such as songwriting (Goldstein, 1990; McFerran, 2003; Robarts, 2003; Derrington, 2005) and experimental improvisation (Bruscia, 1987; Round 2001). According to a survey by Karkou and Sanderson (2006), 31.1% of music therapists work with clients with emotional and behavioural difficulties, but not necessarily adolescents. 11 Brackley (2007; 2012) describes the increasingly common need for music therapy work on a behavioural support programme at a Pupil Referral Unit for preadolescents, aged between five and nine, who have been excluded from mainstream education. She refers to music therapy’s potential ‘to recreate the conditions of the early dyadic relationship, allowing the music therapist to re-visit problematic stages of the pupil’s early development and aid their ego-development’. De Silva (2006) also illustrates how music therapy can bring about radical transformation in the behaviour and emotional interaction with younger children and Montello and Coons (1999) concentrate specifically on the usefulness of music therapy group work. Cobbett (2007) has an integrative approach of using other creative arts in music therapy, specifically drama and play, with primary-aged children who have emotional and behavioural difficulties. Cobbett makes the case for a flexible approach for vulnerable young people of any age and for children to lead, choose the route of their therapy and use play in spontaneous interactions. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! "" !The largest client group, 50%, for music therapists was for clients with learning difficulties. This was only 15.6% for other arts therapists. However figures for music therapists working with clients with emotional and behavioural difficulties was 31.1% compared to 67.6% for other arts therapists (Karkou and Sanderson, 2006). ! %+!
2.7.1 Descriptive articles There are some published case studies with adolescents with emotional and behavioural difficulties, such as Nirensztein’s (2003) work with a maladjusted teenager after an attempted suicide and Fruchard and Lecourt’s (2003) account of music therapy with a fostered teenager. Cobbett (2009) supports school-based work for students with social, emotional and behavioural difficulties. He stresses the importance of making therapy accessible to them, not only practically in terms of getting to sessions, but also on a social and cultural level, by using rap and computer composition. In a project review, McIntyre (2007) describes the results after nine weeks of music therapy sessions for adolescent boys with behaviour and/or emotional disorders. The outcomes included developing new skills, enjoying music, experiencing group cohesion and having increased self-esteem. Neale (2009) and Jenkins (2006) examine the techniques used by music therapists working with children and adolescents who have emotional and behavioural difficulties. Neale presents case studies of work in Pupil Referral Units with children who had been excluded or were at risk of exclusion from school. Her mix of using play and computer software to meet the child’s needs is similar to Jenkins’ summary that a flexible approach is essential for these pupils. Sausser and Waller (2006) define a model for students with emotional and behavioural difficulties in a psycho-educational setting. They contend that proper planning of musical activities in a structured music therapy programme helps students more than a client-centred approach. To optimise services, their design combines the music therapy process with the nine-week pattern of the American school setting to help the therapists cope with large caseloads and they provide suggestions for activities which, they suggest, work well with these students. 2.7.2 Research projects Gold, Wigram and Berger (2001) developed a research design to measure the effects of individual music therapy with mentally ill children and adolescents showing behavioural problems, on symptoms and their quality of life. The children’s needs for ! %"!
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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
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 34: and counter-transference. In chapte
Page 35 and 36: 1.5.2 Overview of methodology In or
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: acquire musical skill. ‘First and
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
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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
Page 85 and 86: 3.5 Music therapy and the education
Page 87 and 88: eginning I used to talk to staff as
Page 89 and 90: many of these students can seem dir
Page 91 and 92: others to hear what is being played
Page 93 and 94: CHAPTER 4 (WITH DVD) AN APPROACH TO
Page 95 and 96: particularly well with adolescents
Page 97 and 98: Rogers’ methods, and the form of
Page 99 and 100: my approach has been shaped by the
Page 101 and 102: time!” he shouts and I react “T
Page 103 and 104: a free-flowing stream of expression
Page 105 and 106: Music is often related to on an emo
Page 107 and 108: 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
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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
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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
Page 275 and 276:
Children and Adolescents. Preventio
Page 277 and 278:
Triangle and Coram, 2011. Music The
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Wigram, T., Lumley, J. and Steen, C
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