Derrington 2012 thesis.pdf - Anglia Ruskin Research Online

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Initiative, and the intervention involved both child-led creative music-making and structured activities to enhance social skills. Findings showed that such involvement in small group work led to greater ability ‘to address educational objectives, both musical and non-musical’ (ibid. p.142). Haines’ (1989) study of group music therapy with emotionally disturbed adolescents showed that music therapy enhanced group cohesion and cooperation. Students were more willing to work together after they had taken part in a music therapy group together. Some specific problems, such as school refusal and bullying, have been looked at in smaller scale studies. According to Shipley (2008) music therapy can offer highly anxious, school-refusing adolescents the chance to discover meanings and truths about themselves. She argues that without a coherent sense of self and identity, the adolescent can encounter difficulties, resulting in school refusal and music therapy can help ‘as part of a multi-modal treatment approach, to come to terms with their identity in a safe environment’ (p.2). 2.9 Conclusion This literature review has shown that there are different approaches for clinical work with adolescents in a variety of settings and there is considerable evidence of research in the other arts therapies. However, there are fewer quantitative studies in music therapy with this client group than with others and an outcome-based research project has not been carried out for youth at risk. Therefore this research area is new and much needed. From the Office for National Statistics (2004) ‘at least one in ten children aged between five and fifteen faces emotional, social or behavioural problems such as anxiety, depression, conduct, hyperkinetic and other less common disorders’ (Karkou, 2010, p. 59). ‘In a survey (Health Advisory Service 1995), head teachers of schools for students with emotional and behavioural difficulties, estimated that 46% of their pupils needed therapeutic support but only 9% received any’ (Cobbett, 2007). The increasing number of adolescents with an emotional disturbance and/or behaviour disorder, indicates the need to develop more specific programmes and approaches that work with affecting self-regulation and communication. Wherever the students ! %)!
are, whatever educational setting they are in, there is a need to offer them therapeutic support. Music therapy’s impact on improving emotional well-being in young people needs to be evaluated to meet the demand for evidence-based practice. The gap is not just in the published literature but in the clinical field which is why there needs to be further research. The findings from this review led me to design a method that would systematically gather data from students receiving music therapy, both through quantitative and qualitative means. For example, the study by Ierardi (2.5.1) influenced the development of my design and in particular on the choice of questionnaires and how they would be administered. It is also not surprising that another project looking at the effects of music therapy on adolescents with emotional and behavioural problems (Doran, 2010), referred to in section 2.3.3, began soon after mine as the literature calls for more research. Such studies together will hopefully help to promote the development of new work as well as present evaluation to established services and further the cause for music therapy with adolescents. ! %*!
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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.
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 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: The sessions aimed to increase the
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
Page 109 and 110: Adolescents who are not sure of the
Page 111 and 112: It is important to address the use
Page 113 and 114: Vignette 4.5 Gary, 15, wanted to si
Page 115 and 116: 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
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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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