Cuidados centrados no paciente e adesão aos tratamentos de fertilidade: resultados da validação da versão portuguesa do PCQ-Infertilidade

Dissertação de mestrado em Psicologia Clínica (Intervenções Cognitivo-Comportamentais nas Perturbações Psicológicas e Saúde), apresentada à Faculdade de Psicologia e Ciências da Educação da Universidade de Coimbra.Os principais objetivos deste estudo foram investigar as propriedades psicométricas da versão portuguesa do PCQ-Infertilidade e analisar a relação entre os cuidados centrados nos pacientes e as suas intenções de adesão ao tratamento. Metodologia: Estudo transversal realizado com 265 mulheres e 83 homens inférteis a realizar diagnóstico ou tratamentos de fertilidade em Portugal, recrutados através da internet e em contexto clínico. O protocolo de avaliação incluiu o PCQ-Infertilidade e outros questionários de autorresposta que avaliam a qualidade dos cuidados, o bem-estar e as intenções de adesão aos tratamentos. Resultados: A análise fatorial confirmatória do modelo estrutural do PCQ-Infertilidade revelou bom ajustamento. Todas as dimensões do PCQInfertilidade revelaram boa consistência interna (excetuando a organização: alfa = .57). De forma geral os cuidados centrados no paciente estavam associados a maior bem-estar e qualidade dos serviços. O instrumento discriminou pacientes em diferentes fases de tratamentos e com e sem educação superior. A disponibilização de informação, o respeito pelos pacientes, a continuidade no atendimento e a competência da equipa estiveram diretamente associadas a intenções mais fortes de adesão. Maior acessibilidade, envolvimento do paciente e boa comunicação estiveram indiretamente associadas a intenções mais fortes de adesão aos tratamentos, através da diminuição das preocupações acerca do tratamento. Conclusão: A versão portuguesa do PCQ-Infertilidade é válida e fidedigna. Para promover a adesão aos tratamentos, as clínicas devem tentar diminuir as preocupações dos seus pacientes sobre os procedimentos médicos, promovendo o fácil acesso a profissionais com quem estes possam discutir as suas preocupações e que os envolvam no processo de tratamento e tomadas de decisão associadas.The main goals of this study were to investigate the psychometric properties of the Portuguese version of the PCQ-Infertility and to analyse the relationship between patient centered care and patients’ intentions to comply with treatment. Methods: The sample was composed of 265 infertile women and 83 infertile men undergoing any stage of fertility treatment in Portugal. Participants were recruited online and at clinical setting and completed the Portuguese version of the PCQ-Infertility and other self-reported questionnaires assessing quality of care, wellbeing and intentions to comply with treatment. Results: The Confirmatory Factor Analysis for the PCQ-Infertility indicated good fit. All PCQ-Infertility dimensions showed good internal consistency (excepting for organization: alpha = .57). In general, patient centered care was associated with higher wellbeing and with better quality care. The instrument was able to discriminate between patients across different treatment stages and between patients with and without college education. The information provision, respect for patients’values, continuity of care and competence of the team were directly associated with higher intentions to comply with treatment. Greater accessibility, patient involvement and good communication were indirectly associated with higher intentions to comply with treatment, by diminishing patients’ concerns about treatment. Conclusion: The Portuguese version of the PCQ-Infertility is valid and reliable. To promote treatment compliance, clinics alike should decrease patients’ concerns about medical procedures by promoting the access to professionals with whom patients can talk in order to discuss their concerns. Professionals should also involve patients in treatment process and decision-making

Spider diversity (Arachnida: Araneae) in Atlantic Forest areas at Pedra Branca State Park, Rio de Janeiro, Brazil

BACKGROUND: There has never been any published work about the diversity of spiders in the city of Rio de Janeiro using analytical tools to measure diversity. The only available records for spider communities in nearby areas indicate 308 species in the National Park of Tijuca and 159 species in Marapendi Municipal Park. These numbers are based on a rapid survey and on an one-year survey respectively. NEW INFORMATION: This study provides a more thorough understanding of how the spider species are distributed at Pedra Branca State Park. We report a total of 14,626 spider specimens recorded from this park, representing 49 families and 373 species or morphospecies, including at least 73 undescribed species. Also, the distribution range of 45 species was expanded, and species accumulation curves estimate that there is a minimum of 388 (Bootstrap) and a maximum of 468 species (Jackknife2) for the sampled areas. These estimates indicates that the spider diversity may be higher than observed.Fil: Castanheira, Pedro. Universidade Federal do Rio de Janeiro; BrasilFil: Pérez González, Abel. Consejo Nacional de Investigaciones Científicas y Técnicas. Oficina de Coordinación Administrativa Parque Centenario. Museo Argentino de Ciencias Naturales "Bernardino Rivadavia"; ArgentinaFil: Baptista, Renner L. C.. Universidade Federal do Rio de Janeiro; Brasi

Jorge Peixinho: homage as a vehicle for musical gestures

Jorge Peixinho (1940-1995) was a major Portuguese composer of the avant-garde musical movement from the second half of the twentieth century. Jorge Peixinho’s works catalogue, elaborated by Delgado, Machado, and Machado (2002), was consulted as the main source for the identification of 21 guitar works (some with several versions) composed through a period of 24 years (1971-1994). Set in the framework of Artistic Research, as understood by Correia (2017), this work is characterized by the articulated juxtaposition of two interdependent components: the creation of verbalizable knowledge, through conventional methods of investigation, and the creation of non-verbalizable embodied knowledge, through creative processes specific to artistic production. This communication proposal focuses on an original composition for solo guitar, entitled Jorge Peixinho - In Memoriam, which was crafted from musical gestures and other specificities found on Peixinho’s guitar output. The aim is to spread Peixinho’s music through this homage, quoting 11 of his barely known guitar works, which deserve to be part of the main guitar repertoire from last century’s European art music.publishe

Jorge Peixinho's interpretative gestures reflected in his guitar music: analysis and performance

The present communication proposal is inserted in the scope of the Investigation Project “Jorge Peixinho and the guitar”. The project consists on the framework of Jorge Peixinho's works with guitar, identification of the specificities of the composer's writing for the guitar and exploration of technical and musical implications on performance. This communication is born from the investigation problem visible in the following question: how to interpret Jorge Peixinho's guitar works? The aim is to create interpretation proposals grounded on the options taken by the composer as a performer. Recordings of the pianist Jorge Peixinho performing his own piano works were collected and analyzed. This way, it has been identified reoccurring interpretative gestures characteristic to Peixinho. These gestures are synthesized on a dictionary that presents a range of possibilities, intended to create a restitution of interpretative gestures of the pianist/composer. Based on this tool, there is an exploration of the identified gestures' application to analogous sections found on Jorge Peixinho's guitar manuscripts (1971 to 1994). Through the recording's analysis and identification of gestures, a dictionary is created whose consultation could interest all the performers that want to have an approach to Jorge Peixinho's lifeworks, as a tool of reference, contextualization and/or fertilization of the performance. Through the exploration of the identified gestures' concrete application to the repertoire with guitar in particular, interpretation proposals pertinent to guitarists that are interested in Jorge Peixinho's work were born. The communication will include a reproduction of recordings (video) of interpretative proposals on the guitar, as well as excerpts of the recordings (audio) of Jorge Peixinho.publishe

[Re]Building Peixinho's music: introducing his guitar works to the contemporany technology

This lecture-recital suggests a way of addressing the artistic ephemerality to which the contemporary technological practices of Jorge Peixinho (1940-1995) are confined to. To this end, this project of artistic research presents a renewal not only at a technical level, but also musical and organological. Two of Peixinho’s works will be played, Harmónicos I and Sine Nomine, as well as the work LLOCK from Nuno Peixoto de Pinho. The first work, Harmónicos I, was composed in 1967 for one or more pianos and the same number of recording-reproduction systems. The work is based on a group of notes, with which the performer shall freely improvise. The improvisation is recorded and reproduced with a delay ranging from 6 to 8 seconds. This way, the performer will be able to play live over the sound just recently produced by himself, sparking gestures and reactions that interweave in diverse temporal layers and directions. This performance proposal consists on the adaptation of the work Harmónicos I for guitar and electronics, resourcing to scordatura to increase the legato and to the software Ableton Live to recreate the delay. As reference, a recording of the work Harmónicos I played on the piano by the composer himself was heard. The second work, Sine Nomine, was composed in 1987 for a variable number of instruments. The manuscript consists in a group of modules, which the performer should play in any order of his choosing. This artistic proposal consists in the dialogue between the live guitar and the reproduction of pre recorded samples for each guitar module. The third work, LLOCK, was composed in 2012 by Nuno Peixoto de Pinho (b. 1980) for guitar duo. It was built with excerpts from two of Peixinho’s works: Cantos de Sophia (1990) for soprano and guitar and L’Oiseau-Lyre (1982) for solo guitar. José António Lopes e Silva (1937-2019), the guitarist who worked closely with Peixinho on Grupo de Música Contemporânea de Lisboa, recorded L’Oiseau-Lyre. Through the present interpretative proposal for guitar and electronics, crafted with samples collected from his recording, an imagined duo with Lopes e Silva becomes possible. Resourcing to the guitar’s technical and tone production possibilities, combined with interaction between the performer and electronics, we now have new tools with which we can interpret the music of Jorge Peixinho, a major figure in the portuguese avant-garde musical movement of the second half of the 20th century.publishe

Jorge Peixinho - In Memoriam for solo guitar: a compositional and interpretative proposal

The present communication focuses on a new compositional and interpretative proposal for solo guitar and is set in the framework of Artistic Research, as understood by Correia (2017). Therefore, itʼs characterized by the articulated juxtaposition of two interdependent components: the creation of verbalizable knowledge, through conventional methods of investigation, and the creation of non-verbalizable embodied knowledge, through creative processes specific to artistic production. This proposal takes the form of a work for solo guitar, entitled Jorge Peixinho - In Memoriam, which is intended to crystalize, focus, develop and amplify guitar writing characteristics of Jorge Peixinho (1940- 1995). The composition and interpretation of this work stem from the observation of a range of techniques, effects, gestures and structures present in Peixinhoʼs guitar works. During the 20th centuryʼs second half, shaping the avant-garde musical movement in Portugal, the composer develops and utilizes an array of characteristic elements, which are now explored in a systematic way, with influence taken from the concept of affordances from Gibson (1979) and from its application to music, as proposed by Reybrouck (2005). There is a search for possibilities of development, fusion, fertilization, proliferation, interweaving and incorporation of these particularities in a 21st centuryʼs composition and performance. Jorge Peixinhoʼs works catalogue, elaborated by Delgado, Machado, and Machado (2002), was consulted as the main source for the identification of 21 guitar works composed through 24 years (1971-1994). Through the consultation of the available sources on Jorge Peixinho and the undertaking of interviews to a group of people that met the composer, data was collected concerning the aesthetic and the practices of his contemporaneity, namely within Grupo de Música Contemporânea de Lisboa. With the gathering of Jorge Peixinhoʼs manuscripts and ensuing analysis and hands-on exploration with the guitar, there were identified recurrent and characteristic elements on Peixinhoʼs guitar writing. This proposal is intended to contribute for the development of a 21st century contemporary guitar, rooted on the recent history that precedes it, alongside with the divulgation of the barely known guitar role in Jorge Peixinhoʼs works, as well as pay a deserved and heartfelt tribute to the composer.publishe

Guitar in Jorge Peixinho's Music

Jorge Peixinho (1940-1995) was a Portuguese composer at the forefront of the avant-garde musical movement from the second half of the twentieth century. Among his lifework, there are 21 guitar pieces (some with several versions), composed over a period of 24 years (1971 to 1994). This communication proposal presents a project of Artistic Research that focuses on Jorge Peixinho’s guitar output. Consists on the framework of Jorge Peixinho’s guitar works, identification of the composer’s writing specificities for the instrument and exploration of its technical and musical implications. The aim is to inform the performance and to raise awareness of these largely unknown works, which deserve its rightful place in the main guitar repertoire from last century’s European art music.publishe

Jorge Peixinho: four artistic research proposals

Jorge Peixinho (1940-1995) was a Portuguese composer at the forefront of the avant-garde musical movement from the second half of the twentieth century. His works catalogue, elaborated by Delgado, Machado and Machado (2002), was consulted as the main source for the identification of 21 guitar works, composed over a period of 24 years (1971 to 1994). Aiming to raise awareness of these largely unknown works and to uncover unexplored possibilities that Peixinho’s music might offer to guitarists, this communication presents four artistic research proposals, conceived as new ways to play Jorge Peixinho on guitar. Three of these proposals resource to technology to enlarge the role of solo guitar on Peixinho’s works, namely Harmónicos I (1967), Sine Nomine (1987) and Nuno Peixoto de Pinho’s LLOCK (2012), which was crafted from Peixinho’s L’ Oiseau-Lyre (1982) and Cantos de Sophia (1990). The fourth proposal consists of a new original composition for solo guitar, entitled Jorge Peixinho - In Memoriam (2021), which is intended as an homage to the composer, containing citations from diverse Peixinho’s guitar works.publishe

Musical gestures and topics in Jorge Peixinho's guitar music: Analysis and performance

The present communication proposal is inserted in the scope of the Investigation Project “Jorge Peixinho and the guitar”. Jorge Peixinho (1940-1995) was a Portuguese composer who played a pivotal role during the second half of the twentieth century, being at the forefront of the portuguese avant-garde musical movement. Having studied with composers such as Luigi Nono, Karlheinz Stockhausen and Pierre Boulez, Jorge Peixinho learned and was responsible for the introduction in Portugal, of the most recent and vanguardian techniques and aesthetics at the time. Over a period of 24 years (1971 to 1994), Peixinho composed 21 guitar pieces (some with several versions). Peixinho’s only solo guitar piece is L’Oiseau-Lyre. The remainder of his guitar works were composed for diverse instrumental formations that include the classical guitar (chamber music and orchestral music). Guitar pieces represent roughly 15% of his known compositions. The project consists on the framework of Peixinho’s works with guitar, the identification of the specificities of the composer’s writing for the guitar and the exploration of technical and musical implications in performance. This communication stems from the investigative problem that underlines the following question: How to interpret Peixinho’s guitar works? Peixinho’s music is often characterized by the sequence and/or overlap of gestures. Then, the search for a meaning for each gesture (semantics) as well as an understanding of the way the gestures are organized and relate to each other (syntactics) seem to be relevant to the construction of an interpretation of Peixinho’s work. The aim is to create interpretation proposals grounded on the identification and analysis of gestures in Peixinho’s guitar works. By utilizing constructs and tools from Musical Semiotics and Topic Theory to guide the analysis, namely the concept of musical gesture as proposed by Hatten (2004), there were found and analysed reoccurring gestures and topics from Peixinho’s guitar works original manuscripts. Through this analysis, a taxonomy of gestures and topics is created, under which a consultation could interest all performers that want to have an understanding of Jorge Peixinho’s lifework, as a tool of reference, contextualization and/or fertilization of the performance. The communication will include a reproduction of recordings (video) of interpretative proposals on the guitar.publishe