Derrington 2012 thesis.pdf - Anglia Ruskin Research Online

(Derrington, 2012). Here, the ideas will be developed further focusing on individual
rather than group music therapy due to the project’s method.
The process of editing the video of sessions for the students revealed certain patterns
and points of change that happen in the work and led me to recognise characteristics
specific to this approach. All students and their parents or carers gave consent 24 for
their work to be included on the DVD and in all cases the students’ names have been
changed. Specific details concerning their referral are not given for reasons of
confidentiality.
4.2 Music therapy with adolescents
Nearly all teenagers relate to music and are actively interested in it as a way of
communicating with their peers and socially identifying themselves. “You can’t have
parties without music” (Peter, in appendix 7.1.22, p.370) as earlier reinforced in 2.2.2
in the study by Garrett, Roche and Tucker (1997). ‘The stereotype of a moody,
monosyllabic and dreamy teenager is usually replaced by creative, communicative
and dynamic play when music is the means of expression’ (Derrington, 2012, p.195).
Using musical improvisation with this age group can be particularly effective because
it facilitates immediate and honest self-expression. However, there are lots of other
ways in which teenagers can engage in music therapy and their ideas and responses to
music have informed and continue to challenge how I work. “We are not what you
think we are!” a chorus line by pop singer Mika (2009), suggesting that teenagers do
not like to be ‘worked out’ but they do want to be heard, highlights the need to
engage in the culture of adolescence (Cobbett, 2009) and understand its various forms
of communication if therapy is going to be a successful intervention.
Adolescents can find it particularly difficult to focus, play musical instruments and
improvise in ways which music therapists might hope and expect using traditional
therapeutic means. My approach has been influenced by many music therapists
(Alvin, 1975; Priestley, 1975; Oldfield, 1996a) however, some factors work
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#% !The consent form used for each student is included as appendix 4.1. To be included
on the DVD accompanying this thesis, the students and their parents/carers gave
additional consent following the substantial ethics amendment (5.2.3)!
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