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1 
 
 
 
Beyond Imitation, Without Limitations:  
A Student Music Therapist Supports the Participation and 
Development of Young People with Profound and Multiple Learning 
Difficulties in a School Setting 
 
 
An exegesis submitted to Massey University and Victoria University of 
Wellington in partial fulfilment for the degree of 
Master of Music Therapy 
 
 New Zealand School of Music 
 
 
Conor Clerkin 
2013 
 
 
  
i 
 
ABSTRACT 
This exploratory study sought to uncover the methods and techniques a student music 
therapist employed to support the participation of young people with complex needs in a 
school setting. Individual music therapy sessions were carried out over nine months, and 
clinical documentation was generated throughout this period. Data sources included clinical 
notes, a reflective journal, and audiovisual recordings from music therapy sessions. Once a 
research question had been established, the existing data was reviewed retrospectively 
through a process of secondary analysis, and both inductive and deductive methods of 
analysis were employed to enable meaningful interpretations of the data to occur. A process 
of coding and thematically linking elements of music therapy practice allowed for a model 
of understanding to emerge, and findings suggest that the behaviours and strategies utilised 
by the student music therapist to support the young people?s participation in music therapy 
fell into three thematic groupings: creating a collaborative environment; following and 
leading; and dynamic flow. Themes are defined and the codes within elaborated upon, with 
case examples from the data included as appropriate to illustrate their meaning. Findings 
are discussed, and links are made to the literature in relevant fields. While results cannot be 
generalised to other settings, it is hoped that the detail and in depth analysis of practice 
provide a thorough and meaningful insight into the types of interaction that can occur in 
music therapy with young people with complex needs, and the value of specific supports to 
participation identified in this research.  
 
 
 
 
 
 
 
 
  
ii 
 
ACKNOWLEDGEMENTS 
 
The journey of learning how to become a music therapist and researcher has been an 
enjoyable, interesting, challenging, but altogether invigorating experience for me. My life 
will never be the same, and it would not have been the same without: 
The lovely land and people of Wellington ? the brightness and warmth of this city have kept 
me bubbly and motivated throughout my studies. 
My supervisor Sarah Hoskyns, who in reality was much more than a supervisor but a real 
source of support, friendship, humour, and inspiration throughout this entire learning 
curve. I have great admiration for you (and your Irish accent), and enjoyed our deep and 
meaningful talks. Thank you. 
The endlessly insightful and articulate Daphne Rickson. Your ability to teach and pass on 
wisdom is in my opinion up there with the best. 
All of my classmates, 1st and 2nd year! It has been an absolute pleasure getting to know each 
and every one of you, and I would like to acknowledge the importance of the support and 
friendship you have given me. 
Everyone at the school, students and staff. What an incredible and unforgettable experience 
it was to work and play with you all. Keep being fantastic! 
Uncle Matthew, for always being there for a chat, and when I really needed you. It was very 
special being out here with you for these two rollercoaster years. 
My wonderful and loving family: Mum, Dad, Ciaran, Fionnuala, Brendan, and Aidan. I am 
very lucky to have all of you in my life. I have always felt like you have all been behind me 
every step of the way, encouraging me forward, and believing in me to be the best I can be. 
 
 
 
 
 
  
iii 
 
TABLE OF CONTENTS 
Abstract         i 
Acknowledgements        ii 
Table of Contents        iii 
List of Figures         v 
List of Appendices        vi 
 
Introduction         1 
 The Setting        1 
 Disability Terminology      2 
 Approach to Practice, Research and Understanding   3 
 Personal Position       4 
 Music Therapy in Practice      5  
 Exegesis Format       6 
 
Literature Review        7 
 Introduction        7 
 Music and Disability       8 
 Music and Participation      9 
 Recent Music Research in Special Needs    11 
Working within a Transdisciplinary Team    13 
 Summary        14 
 
Methodology         15 
 Philosophy and Research Approach     15 
 Method of Inquiry       15 
 Data Collection and Sources      16 
  
iv 
 
 Data Analysis        17 
 Ethical Issues        19 
 
Findings         21 
 Clinical Vignette       21 
Creating a Collaborative Environment    25 
 Following and Leading      30 
 Dynamic Flow        43 
 Summary        47 
 
Discussion         48 
  
Conclusions         55 
References         57 
Appendices         65 
 
 
 
 
 
 
 
  
  
v 
 
LIST OF FIGURES 
 
Figure 1: Supporting Participation Themes     25 
 
Figure 2: Theme One Codes       25 
 
Figure 3: Theme Two Codes       31 
 
Figure 4: Theme Three Codes      44 
 
 
 
 
 
 
 
 
 
 
 
 
 
  
vi 
 
LIST OF APPENDICES 
 
Appendix 1: Glossary of Terms      65 
 
Appendix 2: Cover Letter for Family      66 
 
Appendix 3: Information Sheet for Family     67 
 
Appendix 4: Consent Form for Family     69 
 
Appendix 5: Cover Letter for School      70 
 
Appendix 6: Information Sheet for Staff     72 
 
Appendix 7: Consent Form for Staff      74 
 
Appendix 8: Example of Song Composed in Music Therapy   75 
 
Appendix 9: Examples of Early and Later Coding    77 
 
Appendix 10: Stages of Thought Progress in Analysis   79