Derrington 2012 thesis.pdf - Anglia Ruskin Research Online

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ehaviour. In music therapy, this attempt to understand such reasons is also the student’s work. There is space for them to be and do what they want. As the therapist I aim to be consistent and offer unconditional positive regard for them and their feelings, within the normal boundaries of safety. Finally, empathic understanding is essential when working with teenagers: accepting students by actively listening to them and acknowledging their viewpoint without agreeing can affirm their sense of self, regardless of whether they know themselves or not. It relates to the aims set out earlier in this chapter because it can help them to understand the impact their behaviour can have, both on themselves and other people. 4.4 Characteristics of an approach to music therapy with adolescents My approach has been shaped by my work and experience with adolescents with a variety of different needs. I have learnt to describe and define this approach through conversations with teachers and support staff who have frequently asked “What do you do in music therapy” The need to refine my response to equal the speed of a ‘corridor conversation’ has made me concentrate on the aspects of music therapy with adolescents that seem relevant and most effective. Youth culture shapes my work and everything from using recorded music, ‘X-factor’ re-enactments, recording on mobile phones, songwriting, play, chat and jamming all regularly feature in sessions. Sessions are non-stop and filled with the language and trends with which teenagers are familiar. This is where the therapy has to start and the point from which the student and I can begin relating to one another. Rather than waiting and responding, teenagers react to chat, action and ideas, as well as coming up with their own plans, such as making up music videos, dancing and playing. When I began working at Cottenham Village College I was not aware of another music therapist working in a mainstream secondary school in the UK. At times it could feel that I was making it up as I went along, remembering in sessions Robbins’ idea that ‘immediately you have to go in with all your abilities and sensitivities, as they are, and shape them in the course of therapy’ (Robbins, 1998, p.73). To some extent, I expect the work will always have this improvised and unprepared feel but ! )+!
my approach has been shaped by the needs of adolescents, their creative input and the recognition of themes and patterns as they emerge. Without being inflexible and prescriptive, there are ways of working with adolescents and certain criteria which I suggest should be in place to enable the work to proceed and be most effective. There can be a very busy feel to sessions and playing instruments, especially the drums, usually demands energy and action. An adolescent’s eclectic taste and experience of music, from popular, rock and drum and bass to children’s songs and film tunes, can enter into the improvised mix. Improvisation allows us to be flexible and playful and it supports a student-centred way of working. I aim to improvise with all the students I work with and there are various ways in which I try and achieve this. However, for some students it can take a while to arrive at a point of improvising freely and it may come about after taking several detours. Cobbett (2009) also reports that traditional methods of free improvisation may initially provoke anxiety for this client group. The value of using pre-recorded and composed music is significant. Choosing what song to put on, offers teenagers another way of expressing themselves which can be equally as effective as improvising. Most of my work involves a combination of improvisation and the use of pre-composed music. Listening to pre-recorded music, talking, performing, drawing on the board, songwriting, playing games and creating live music can all play equally important parts in the teenager’s therapeutic journey. The quotes in the heading of each of the following sections are taken from students. I feel these quotes capture something of the way these young people perceive elements of music-making. 4.4.1 “Let’s just play it!” Improvising with adolescents Some students enjoy the freedom of jamming, the immediacy of making something up and living in the moment. They can express themselves and allow me to support them using musical structure, as Bruscia (1987) describes: ! )"!
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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
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CHAPTER 2 LITERATURE REVIEW 2.1 Int
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2.2.1 Literature on adolescents and
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influence or impress others as a me
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how it can ‘enhance a variety of
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2.3.1 Descriptive articles In a pub
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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
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Page 71 and 72: 3.2.1 Inclusion The Government Gree
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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
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Page 89 and 90: many of these students can seem dir
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Page 93 and 94: CHAPTER 4 (WITH DVD) AN APPROACH TO
Page 95 and 96: particularly well with adolescents
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Page 107 and 108: Subsequently he was able to share h
Page 109 and 110: Adolescents who are not sure of the
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Page 113 and 114: Vignette 4.5 Gary, 15, wanted to si
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Page 119 and 120: Figure 4.4.6 Rose’s drawing She s
Page 121 and 122: Gerald in the story, the most remar
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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
Page 139 and 140: School generally find reading more
Page 141 and 142: Effort was made to match the subjec
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Page 145 and 146: e shared out between them. As the p
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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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