Derrington 2012 thesis.pdf - Anglia Ruskin Research Online

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the session. His home life was chaotic and he showed no interest in taking a DVD away. Instead, our regular pattern of watching the film and talking about it afterwards became as important as our playing. Then, in his third school term of music therapy, Tim asked to see some of his video from the first term. In this session he did not want to play any instruments but rather watched many different excerpts and, following the usual pattern, watching the videos encouraged him to talk. He spoke openly about how he felt watching the different films and was keen to reflect on the past. He was able to comment on how he felt now compared to then and all the changes that had occurred in his life. This was an interlude and subsequent sessions were full of playing, using the camera, watching and talking about what we had played, as before. However, it was this predictable structure that added to his sense of security which allowed him to look back and consider feelings which were difficult and uncomfortable. The videos were also a real record of his playing and feelings at different times which he was able to keep and refer to when he wanted. Music therapy is made particularly effective by its strong position in the school; due to the fact it is embedded within the system it has been a good site for academic research. The school set-up and time-tabled day already provides the structure which students need, so that therapy can take place: this culture helps students to attend their sessions regularly and on time (<strong>Derrington</strong>, 2005). The work also has to be clearly boundaried to protect students from peer pressure and knowing what other students do or play in therapy. Competition could come about if the work was not kept clearly confidential and students generally understand and respect this. 3.5.1 Monitoring and evaluation The head teacher of The Centre School has supported music therapy right from the start and the provision has built up with the development of The Centre School. The need for monitoring and evaluation has challenged my work and reinforced an approach which has been shaped by the school’s changes and its culture. At the ! ')!
eginning I used to talk to staff as I saw them around school, informally and in meetings, to comment on students’ music therapy. Whilst this was an easy way to get feedback it soon became clear that it needed to be documented in a more formal way so I created forms (appendix 3.5.1a) for members of staff to complete. Most teachers were happy to write down some of their key points in this way and recognised the importance of such feedback. During the course of this PhD research project, Ofsted made their initial inspection on The Centre School because it had changed status from a Learning Support Unit and had previously been inspected as part of the College. As a Unit in 2008 it was classified as outstanding but in 2009, as a school, it was placed in special measures. As a failing school it needed support for success, not just to be planned and delivered but provided with a procedure of monitoring and evaluation (Farrell, 2001). As a result, the inspectors made frequent visits and the way the staff worked and evaluated each student’s progress was scrutinised. Music therapy was not an area that was deemed inadequate but the process made me, along with my colleagues, focus on the ways that I monitored my regular working practice and evaluate this provision in a school alongside teaching and learning targets. I designed questionnaires to be completed by staff before and after the student’s music therapy (appendix 3.5.1b). I also created a half-termly monitoring system in line with all other subjects, contributed to students’ personal learning records and continued to use the Assessment and Qualifications Alliance (AQA) unit award scheme. Regular monitoring in a variety of ways helps to promote the work in evaluation-biased educational settings, as they encounter Ofsted, struggle with over-stretched budgets and question the value and effectiveness of music therapy, particularly in secondary schools. The short questionnaire (appendix 3.5.1b) that is used before and after a student’s block of therapy is ideally completed by the same teacher or instructor each time. They are asked to comment on the student’s attitudes to learning, behaviour, social skills and to provide any other general comments. The questionnaires are then compared and any positive changes after music therapy are highlighted. These can be shared with staff and provide ongoing informal evaluation of the work. The questionnaires are a useful way to guide discussion about a student with other members of staff, particularly after a referral has been made, for the therapist to gain ! '*!
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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
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
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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
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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: 3.5 Music therapy and the education
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
Page 117 and 118: Then, in his sixth session he stopp
Page 119 and 120: Figure 4.4.6 Rose’s drawing She s
Page 121 and 122: Gerald in the story, the most remar
Page 123 and 124: letting them rule, can feel chaotic
Page 125 and 126: CHAPTER 5 METHODOLOGY 5.1 Introduct
Page 127 and 128: Table 5.2 Overview of the design an
Page 129 and 130: Group B could be considered as a wa
Page 131 and 132: 5.3 Participants Students at risk o
Page 133 and 134: Figure 5.3.3 Recruitment and groupi
Page 135 and 136: 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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