MUSIC THERAPY PILOT PROJECT WITH AT-RISK YOUTH IN SEATTLE
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1 MUSIC THERAPY PILOT PROJECT WITH AT-RISK YOUTH IN SEATTLE Kirsten Hutchison, MT-BC, Neurologic Music Therapist Barbara Jurgensmeier, MME, MT-BC
2 In Collaboration with.
3 THE EFFECTS OF LYRIC ANALYSIS AND SONGWRITING MUSIC THERAPY TECHNIQUES ON SELF-ESTEEM AND COPING SKILLS AMONG HOMELESS ADOLESCENTS By Barbara Jurgensmeier, MT-BC Submitted to the graduate degree program in Music Education and Music Therapy and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Music Education (Music Therapy)
4 Introduction Homelessness Definitions Runaway Throwaway Systems youth Street youth Contributing Factors Abuse Sexual Physical Emotional Substances Familial dysfunction Mental Illness
5 Manifestations of Homelessness Substance Abuse Mental Illness Delinquency Vulnerability Survival Behaviors
6 Treatments Non-Musical Day centers/transitional living facilities Medical services Peer groups Therapy CBT Family Musical Lyric analysis Songwriting Movement to music Drumming Guided imagery Improvisation Music listening
7 Purpose Statement The purpose of this study was to determine the effect of group lyric analysis and songwriting on homeless adolescents selfesteem, coping skills, and retention over an eight-session music therapy treatment period. The following research questions were addressed: Among homeless adolescents, do song writing and lyric analysis yield greater self-esteem outcomes than talk-based therapy groups? Do homeless adolescents identify more positive coping strategies and treatment benefits with songwriting and lyric analysis or talk-based interventions? Are songwriting and lyric analysis effective in retaining homeless adolescent participants from session to session, over an eight-session treatment period?
8 Methodology Session'1' 'Experimental' Theme:'Identity' ' 8'Drum'intervention' 8' New'Deep 'live' performance' 8'Lyric'analysis'and'group' discussion' 8'Begin'songwriting' '''''''8'Choose'instruments' '''''''8'Identify'genre' '''''''8'Create'verse'1' 8'Practice' 8'Group'Jam' 8'Closing'discussion' Session'2' 'Control' Theme:'Self8Evaluation' '' 8'Ice'breaker'question/ activity' ''''''8' If'you'could'be' ''''''''''animal,'what'would' ''''''''''you'be'and'why? ' 8'Journal/group' discussion'' 8'Group'game' ''''''8'What'I'Believe' 8'Group'discussion'related' to'activity'and'session' theme' 8'Closing'discussion' Session'3' 'Experimental' Theme:'Self8ConRirmation' '' 8'Drum'intervention' 8' Stronger 'live' performance' 8'Lyric'analysis'and'group' discussion' 8'Songwriting' '''''''8'Create'chorus'and' '''''''''instrumental'bridge' 8'Practice' 8'Group'Jam' 8'Closing'discussion' Session'4' 'Control' Theme:'Forgiveness' '' 8'Ice'breaker'question/ activity' ''''''8'Steps'to'Forgiveness' 8'Journal/group' discussion'' 8'Group'game' ''''''8'Forgiveness'Collage' 8'Group'discussion'related' to'activity'and'session' theme' 8'Closing'discussion' Session'5' 'Experimental' Theme:'Happiness' '' 6'Drum'intervention' 6' Happier 'live' performance'' 6'Lyric'analysis'and'group' discussion' 6'Songwriting' '''''''6'Create'verse'2' 6'Practice' 6'Group'Jam' 6'Closing'discussion' Session'6' 'Control'' Theme:'Gratitude'' '' 6'Ice'breaker'question/ activity' ''''''6'List'of'Gratitude' 6'Journal/group'discussion'' 6'Group'game' ''''''6'Thank'You'Card' 6'Group'discussion'related' to'activity'and'session' theme' 6'Closing'discussion' Session'7' 'Experimental'' Theme:'Empowerment' '' 6'Drum'intervention' 6' Do'It'Now 'live' performance'' 6'Lyric'analysis'and'group' discussion' 6'Practice'and'record'entire' song'using'garageband' 6'Group'Jam' 6'Closing'discussion' Session'8' 'Control' Theme:'Resolution' '' 6'Ice'breaker'question/ activity' ''''''6'Fill'out'Tinal' ''''''''questionnaire' 6'Journal/group'discussion' related'to'questionnaire' responses'and'individual' experiences'throughout' treatment' 6'Closing'discussion'
9 Do It Now Sitting in the back of the bus. Talking about nothing, oh we re talking about us. Watching as the world goes hammering on, hammering on. You say that you ve got nothing left. There s nothing left in you to find. You re gonna ride it out, gonna wait it out, living to die, you re living to die. No one s gonna wait for you. No one s gonna wait for you Chorus: So do it now. Do it right now. Don t waste a minute on the darkness and the pity sitting in your mind and do it right now. Do it right now. Everything will stop on a dime, everything will crash into itself in good time. Do you want to beat your own heart, beat your own heart or leave it behind, leave it behind? No one s gonna wait for you. No one s gonna wait for you. Chorus I m gonna get up, I m gonna get right out my bed, get out of my bed. You re gonna stand up, you re gonna stand right up again, stand right up again. I m gonna get up, I m gonna get out of my bed, get ouf of my head. You re gonna stand up, you re gonna stand up, you re gonna stand up. You re gonna stand up. Chorus
10 Outcome Measures Intake Questionnaire Rosenberg Self-Esteem Scale (RSES) pre- and posttreatment sessions Attendance Rates Qualitative Survey Notable observations, trends, themes that surface throughout the treatment period
11 Quantitative Data Demographics N = 6 (4 male, 2 female) Length of stay at facility ranged from 1 month to 9 months Reasons for moving into transitional living house Needed help Needed to move Homeless RSES Scores Most scores remained the same or increased slightly after treatment Paired t-tests showed statistically significant changes pre- to post-test for both treatment groups (0.20 alpha level) Control [t(6) = 2.30, p = 0.06] Experimental [t(12) = 1.73, p = 0.11] Independent t-tests did not show statistically significant differences in impact of one treatment over the other [t(18) = 0.26, p = 0.80]
12 Attendance Rates 5 Number of Participants Experimental Control 0 Session 1 Session 2 Session 3 Session 4
13 Qualitative Data All participants indicated positive response to both treatments 1 preferred non-musical interventions 1 preferred musical interventions 1 indicated equal preference for both Reasons for treatment preference mostly included an ability to creatively express oneself and relieve stress Several participants demonstrated behavior changes/ self-realizations Group song reflected themes of struggle, perseverance, and empowerment
14 Conclusions Both groups yielded statistically significant self-esteem changes, pre- to post-treatment Despite a lack of statistical significance between groups, participant attendance rates suggested a possible preference for the musical interventions Positive behavioral changes were observed and illustrated through qualitative responses Limitations Sample size Transient population Lack of multiple quantitative measurements of self-esteem Future recommendations A supportive, multi-faceted treatment approach Allow for more individual growth in addition to group interactions
15 Higher Than the Sky Verse 1: Falling in the middle of the road Felt like falling out of the sky Everybody stares at me and I just don t know why Finally got up, held my head up high Just kept on walking, left my worries far behind Chorus: It s time to fly Higher than the sky Who cares about wasting time Verse 2: Open your eyes to the road before you See what possibilities lie Turn your head away from those who ignore you Draw from the strength inside (Chorus)
16 PILOT PROJECT AT THE ORION CENTER: A DROP IN SHELTER FOR STREET DEPENDANT YOUTH Songwriting workshop held once per week for 8 weeks
17 Program Goals Provide meaningful creative musical experiences to promote: Sense of Community Group Cohesion Self-Esteem Expression Pro-social Functional Coping Mechanisms
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19 Improvisations
20 Intro to Songwriting :Yellow Submarine They are all cranky anchors In the giant PB & J In Nutella sandwiches So we ran on to the acid wall Till we found more acid and care bears And we lived beneath the wind In our yellow Bently We re all epic in a clear Chuck Norris, Clear Chuck Norris, Clear Chuck Norris We re all epic in a clear chuck Norris Clear Chuck Norris Clear Chuck Norris Then Snoop Dogg came along And Joined me In the Forest Final Verse: We re all epic in a clear Chuck Norris, Clear Chuck Norris, Clear Chuck Norris We re all epic in a clear chuck Norris Clear Chuck Norris Clear Chuck Norris In Broadway there was a man He would sponge for some change
21 Always I just wanted you to know this I ll be there for you always Every day and nightly Holding you so tightly Now we re here together And things are so much clearer Hoping things not knowing Where we might be going I ll be there for you always The future is unclear But with you standing near I have nothing to fear No sword or spear Could prevent me from being there For Always So much time has passed Since our first of lasts Still I m here forever Forever and for always Now we re getting older Now our time is so near We can sleep without the fear For we were there For Always
22 Similarities Identity-based themes Future themes Highly variable attendance
23 Differences Transitional Housing: Isis House Rehabilitation Mode Stable Housing In-house support network Homeless Shelter: Orion Center Active Trauma Situation Street Dependant Transient Support Network
24 Discussion Interest among music therapist Potential for increased music therapy involvement Barriers to providing music therapy services How to we overcome barriers to provide services
25 Questions??
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