Derrington 2012 thesis.pdf - Anglia Ruskin Research Online

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a good understanding of the pupil’s strengths and weaknesses. Although these questionnaires were not used in the research design, they were an important indicator that teachers’ reports provide important observation of a student’s progress in school and a useful means of gathering evidence. 3.5.1.1 Personal learning records and half-termly monitoring One of the ways in which a student’s progress is monitored is by the students themselves who keep a personal learning record. These records show what the student has learned through various activities and tasks. Coming up with new ideas, thinking about what has gone well, setting goals, listening to others and reaching agreements are achievable through individual music therapy sessions. Students are encouraged to take responsibility for their attendance at sessions, unlike compulsory lessons, and to organise the time and their resources. This reinforces the personal learning record’s reference to being independent enquirers, creative thinkers, reflective learners, team workers, self-managers and effective participators. Students can take photographs or write about their music therapy for their record if they choose. This sort of evidence is parallel to other subjects and the students’ practice-based learning. Photographic evidence is a crucial means of evaluation in most subject areas. However, for some pupils music therapy stands apart from their learning, it is private and they do not want to refer to it in the classroom and this is always respected. Other means of evaluation of music therapy include video evidence, song compositions and recordings. As well as writing regular reports for annual reviews for the students with statements of special educational needs and meetings as they arise, I complete half-termly monitoring forms in line with other subjects at school (appendices 3.5.1c and 3.5.1d). Half-termly monitoring aims such as improving communication, concentration or encouraging cooperation, link in with the student’s Individual Behaviour Plan (IBP) and Individual Education Plan (IEP) which set out a pupil’s needs with specific and achievable goals. These do not interfere with the student-centred approach which underpins my work but add constructive thought to it. My primary aim is always to help students express themselves and communicate through music but the half-termly monitoring may include additional goals such as encouraging a student to take initiative and lead or to develop turn-taking skills. As ! (+!
many of these students can seem directionless and the provision has to be timelimited due to the demand on the service from the high level of need at school, this sort of monitoring helps me to regularly review the impact and benefit that the therapy is making and understand when an ending is necessary. Relating work to the IEPs does not lessen the therapeutic value of the work. The purpose of IEPs is to enable the child to make progress, depending on their emotional state, not to change the child to fit the system (Cornwall and Todd, 1998). Music therapy adds to the student’s social and emotional aspects of learning (SEAL) and development. The SEAL initiative addresses students’ emotional literacy and promotes social and emotional skills that ‘underpin effective learning, positive behaviour, regular attendance…and the emotional health and well-being of all who learn and work in schools’ (DCSF, 2007b, p.4). These skills are based on Goleman’s (1995) categories of emotional intelligence: self-awareness, managing feelings, motivation, empathy and social skills (Vizard, 2009). Music therapy should be recognised as contributing to the emphasis on this aspect of learning and working with schools to meet these initiatives. 3.5.1.2 Assessment and Qualifications Alliance (AQA) unit awards Achievement at The Centre School, however small, is acknowledged and congratulated. This is always recognised at each half-term’s assembly when prizes and certificates are awarded. Therapy and education both help a person to acquire knowledge and skill (Bruscia,1998a) but defining the work and maintaining boundaries can be challenging within a school environment that is based on awards, certificates and achievement. If therapy’s goals are distinctly clear from these educational targets, the acknowledgement of musical skill that a student has acquired through therapy is safe. Although the aims and the way of working may be different to other lessons and activities, music therapy can be included in one of the school’s systems of assessment: using the Assesment and Qualifications Alliance (AQA) unit award scheme. It is a relevant and appropriate form of evaluation and it is obvious how important these awards are to the young people. They give students of all abilities ! ("!
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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
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
Page 85 and 86: 3.5 Music therapy and the education
Page 87: eginning I used to talk to staff as
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
Page 137 and 138: 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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