2,440 research outputs found
Experience, evidence and what counts in UK music therapy – an arts-based autoethnographic study
The field of music therapy is not bland: therapists train because of deep belief in the dignity of people and the power of music; participants begin therapy because something significantly challenging is present in their lives; fundraisers share stories which are painful, life affirming, uncomfortable; receptionists juggle quiet spaces with loud spaces with stimulation without sensory triggers; carers listen, absorb, give and give some more, often beyond the limits of their energy. And pulse and meter and melody and dynamics and bodies and voices and wood and skin and metal are the raw materials.However, it might be argued that the search for evidence in music therapy has led to something akin to a parallel reality, - one in which measured, analytical reporting of certain aspects of the work is shared, often in official documents. The vital, sensory, embodied, relational experience which is music making, and which lies at the heart of the therapy is rendered in careful and dispassionate text. There are good reasons for this, and for the steady growth of ‘evidence-based practice’, which lie in the history of the profession and its search for validation. Yet the evidence which is shared in these texts has tended to become increasingly disconnected from many features of the musical therapeutic encounter that music therapists value.In this study, conceived from a critical realist perspective, I ask ‘what is experience in music therapy’, ‘what is evidence in music therapy’, ‘are evidence and experience in fact the same thing, or could they be’? I look at my own experiences, and evidencing of these experiences, gained across 24 years of working as a music therapist. In so doing, I find I cannot maintain a single role or persona. Unexpectedly, in the course of this reflexive exploration, four Roles arrive noisily and will not go away (Music Therapist, Researcher, Musician and Carer). They debate, argue and probe at the heart of what counts, and at the cultures of music therapy which systematise and perpetuate what counts. They consider the turn to evidence-based practice in music therapy and ask ‘what is the evidence of’, and ‘does this make sense to insiders, outsiders, either, both’?This multivocal, dialogical approach allows me to adopt the different positions taken by each of the four Roles as they ask ‘does this make sense to me’, and to advocate for culture change in both music therapy and academia. It resonates with the focus of this research – experience, evidence and what counts in music therapy, and invites various different methodological approaches - autoethnography, arts-based research, phenomenology, and Aesthetic Critical Realism which is introduced to the field of music therapy for the first time. A complex web of different kinds of experience and evidence emerges through poems, stories, vignettes, images and mobile making and results in a concept of four phases of experience, leads to defined categories of different kinds of experience, and to the proposition that in music therapy, experience is evidence of personhood.The thesis is relational: those engaging with it are part of the network of experiences in the field of music therapy, because I conceptualise this field as including all musical, logistical, contractual, academic, public and informal encounters of all stakeholders, from participants to next-door neighbours. Because you are engaging with this thesis, I regard you as a Collaborator, but it is not necessary for you to be familiar with the field. Thank you for your involvement
Effects of municipal smoke-free ordinances on secondhand smoke exposure in the Republic of Korea
ObjectiveTo reduce premature deaths due to secondhand smoke (SHS) exposure among non-smokers, the Republic of Korea (ROK) adopted changes to the National Health Promotion Act, which allowed local governments to enact municipal ordinances to strengthen their authority to designate smoke-free areas and levy penalty fines. In this study, we examined national trends in SHS exposure after the introduction of these municipal ordinances at the city level in 2010.MethodsWe used interrupted time series analysis to assess whether the trends of SHS exposure in the workplace and at home, and the primary cigarette smoking rate changed following the policy adjustment in the national legislation in ROK. Population-standardized data for selected variables were retrieved from a nationally representative survey dataset and used to study the policy action’s effectiveness.ResultsFollowing the change in the legislation, SHS exposure in the workplace reversed course from an increasing (18% per year) trend prior to the introduction of these smoke-free ordinances to a decreasing (−10% per year) trend after adoption and enforcement of these laws (β2 = 0.18, p-value = 0.07; β3 = −0.10, p-value = 0.02). SHS exposure at home (β2 = 0.10, p-value = 0.09; β3 = −0.03, p-value = 0.14) and the primary cigarette smoking rate (β2 = 0.03, p-value = 0.10; β3 = 0.008, p-value = 0.15) showed no significant changes in the sampled period. Although analyses stratified by sex showed that the allowance of municipal ordinances resulted in reduced SHS exposure in the workplace for both males and females, they did not affect the primary cigarette smoking rate as much, especially among females.ConclusionStrengthening the role of local governments by giving them the authority to enact and enforce penalties on SHS exposure violation helped ROK to reduce SHS exposure in the workplace. However, smoking behaviors and related activities seemed to shift to less restrictive areas such as on the streets and in apartment hallways, negating some of the effects due to these ordinances. Future studies should investigate how smoke-free policies beyond public places can further reduce the SHS exposure in ROK
30th European Congress on Obesity (ECO 2023)
This is the abstract book of 30th European Congress on Obesity (ECO 2023
Ditransitives in germanic languages. Synchronic and diachronic aspects
This volume brings together twelve empirical studies on ditransitive constructions in Germanic languages and their varieties, past and present. Specifically, the volume includes contributions on a wide variety of Germanic languages, including English, Dutch, and German, but also Danish, Swedish, and Norwegian, as well as lesser-studied ones such as Faroese. While the first part of the volume focuses on diachronic aspects, the second part showcases a variety of synchronic aspects relating to ditransitive patterns. Methodologically, the volume covers both experimental and corpus-based studies. Questions addressed by the papers in the volume are, among others, issues like the cross-linguistic pervasiveness and cognitive reality of factors involved in the choice between different ditransitive constructions, or differences and similarities in the diachronic development of ditransitives. The volume’s broad scope and comparative perspective offers comprehensive insights into well-known phenomena and furthers our understanding of variation across languages of the same family
Exhibiting the Past
With respect to public issues, history matters. With the worldwide interest for historical issues related with gender, religion, race, nation, and identity, public history is becoming the strongest branch of academic history. This volume brings together the contributions from historians of education about their engagement with public history, ranging from musealisation and alternative ways of exhibiting to new ways of storytelling
On the coherence of a duty to surrender with just war theory and the laws of war
This thesis conducts an interdisciplinary analysis of the obligation for states and individuals to surrender as an emerging phenomenon in just war theory and international law. It seeks to establish the humanitarian value of a duty to surrender and extrapolate it from the principles of these two disciplines, arguing that the lack of a previous in-depth analysis of surrender is not just an absence, but an oversight. After conducting a historical analysis of surrender it explores the doctrinal basis of such a duty in related bodies of international law: the law on the use of force, international humanitarian law, human rights law, aggression and international criminal law, and peace treaties in international law.
This thesis then explores the orthodox and revisionist schools of just war theory gradually assessing the themes which coalesce around the determination of justice in surrender. It argues that the duty to surrender must, in order to avoid the pitfalls of empire and appeasement, draw its normative force from popular sovereignty and the right of self-determination. It establishes the value of referenda and conscientious objection as important mechanisms in the duty to surrender. Equipped with these ideas, the thesis finally turns to a discussion of the parameters of the right of self-determination in international law. Ultimately, it fully theorises the source and requirements of the duty to surrender for individuals and states, and how they interact. It positions the duty to surrender as an obligation with the potential to not only be coherent with just war theory and international law, but which allows them to better achieve their humanitarian promise
Moving away from the Monoplot: conventional narrative structure in the screenplay and the unconventional alternatives
Through a combination of creative and critical practice, this project seeks to explore the conventionalisation effect that popular screenwriting handbooks have had on screenwriting practice, the unconventional structural models that are available to the screenwriter once they move away from the conventional model, and the meanings which conventional and unconventional structural approaches create. By examining the most influential screenwriting handbooks, and tracing the historical development of screenwriting conventions, a model for quantifying and understanding conventional narrative structure will be proposed: Conventional Monoplot. An exploration of the cinematic canon, box office statistics and Academy Awards success will attempt to show that the conventionalisation of structural practice within the screenplay has led to an increased homogeneity of form and meaning in mainstream cinema and a concurrent reduction in narrative sophistication and critical esteem. By applying the Conventional Monoplot model in their practice, this project will argue that the screenwriter can quantify and understand divergence from conventional structural practice by negative correlation to the model, and through such practice the homogeneity of film form might be challenged. Through an examination of a wide body of film texts a taxonomy of alternative structural models will be proposed, and the meanings which these models create will be explored. The creative element, a feature screenplay, will demonstrate practical application of one of these models, and a critical reflection will explore the meanings created by use of this unconventional structural model, locating a methodology for unconventional practice in the screenplay. The project will propose that the influence of screenwriting handbooks has led to homogeneity and conventionalisation in the
culture of the screenplay, and that by consciously focusing on unconventional structural practices the screenwriter can access a greater diversity of meaning at the structural level
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