Clinical trial metadata:Defining and extracting metadata on the design, conduct, results and costs of 125 randomised clinical trials funded by the National Institute for Health Research Health Technology Assessment programme

Background:  By 2011, the Health Technology Assessment (HTA) programme had published the results of over 100 trials with another 220 in progress. The aim of the project was to develop and pilot ‘metadata’ on clinical trials funded by the HTA programme.   Objectives: The aim of the project was to develop and pilot questions describing clinical trials funded by the HTA programme in terms of it meeting the needs of the NHS with scientifically robust studies. The objectives were to develop relevant classification systems and definitions for use in answering relevant questions and to assess their utility.   Data sources: Published monographs and internal HTA documents.   Review methods: A database was developed, ‘populated’ using retrospective data and used to answer questions under six prespecified themes. Questions were screened for feasibility in terms of data availability and/or ease of extraction. Answers were assessed by the authors in terms of completeness, success of the classification system used and resources required. Each question was scored to be retained, amended or dropped.    Results: One hundred and twenty-five randomised trials were included in the database from 109 monographs. Neither the International Standard Randomised Controlled Trial Number nor the term ‘randomised trial’ in the title proved a reliable way of identifying randomised trials. Only limited data were available on how the trials aimed to meet the needs of the NHS. Most trials were shown to follow their protocols but updates were often necessary as hardly any trials recruited as planned. Details were often lacking on planned statistical analyses, but we did not have access to the relevant statistical plans. Almost all the trials reported on cost-effectiveness, often in terms of both the primary outcome and quality-adjusted life-years. The cost of trials was shown to depend on the number of centres and the duration of the trial. Of the 78 questions explored, 61 were well answered, 33 fully with 28 requiring amendment were the analysis updated. The other 17 could not be answered with readily available data.   Limitations: The study was limited by being confined to 125 randomised trials by one funder.   Conclusions: Metadata on randomised controlled trials can be expanded to include aspects of design, performance, results and costs. The HTA programme should continue and extend the work reported here

"The notes look all blurry." Emergent learning diversity in the instrumental music studio

When children commence instrumental music tuition, unacknowledged diversity in their learning can arise. Learning diversity refers to differential needs that children may require in order to facilitate successful musical skill development. The primary focus of this research project is an investigation of children’s lived experiences of the first 18-months of learning to play the cello and how this impacts ongoing musical development. However, an unexpected finding of the research was that across the data collection period, half of the child participants presented with issues that created extra challenges for their learning. These challenges included dyslexia, dyspraxia, suspected attention deficit disorder, learning processing disorders, anxiety and intrusive synesthesia. This paper investigates the ways that children’s learning diversity can emerge and how these challenges can compound the personal and social factors that influence children’s motivation to persist with their musical development. Specifically, this paper examines how children’s additional learning needs can be identified and accommodated by the child, teacher and parent for productive learning outcomes

Transactional culture of the portfolio career chamber musician: A case study

The literature and case study data presented in this chapter explore the micro- (interpersonal) and macro-level (organisational/cultural) experiences between professional chamber musicians, the venues that engage them, and the audiences in attendance. They are explored in terms of a series of transactions—acts of giving and receiving and embracing the need to compromise. From this perspective, emergent themes include the delicate balancing of economic, esteem, and diversification values for both performers and venue in planning; music cohesion and interpersonal social interaction as important at all levels and across all stages of planning and executing performances; and considerations of the balance between familiar and novel encounters, informality, and experiences of social inclusion regarding interactions amongst performers and audience members. It is clear that both specific and subtle transactions shape the motivations, planning, and execution of ensemble performances. While stakeholders all inevitably have different and varied experiences, their transactions contribute to the virtuous cycle of the embedded environmental social, cultural, material, and technological factors and the action afforded that constitutes chamber music performance. The “art of ensemble performance” seems to be a distributed process that is dependent on critical interdependent transactions amongst all stakeholders

An exploratory study of historical representations of love in an art gallery exhibition

Visitor responses to art exhibitions vary depending on visitor traits, the exhibition context, as well as the sensory engagement between visitor and exhibition. The present investigation explored visitors’ experiences of Love: Art of Emotions, a curated exhibition shown at the National Gallery of Victoria in 2017, which comprised a variety of artworks from the early modern period selected to address the broad theme of love. This article reports on a mixed-methods research project using a short survey and brief exit interviews with visitors to consider how the visitor experience was characterized, the factors that influenced this experience, and how the exhibition content was perceived, with particular focus on the emotional content portrayed in the exhibition’s collection of artworks. Results of quantitative analyses indicate that familiarity with artworks and their historical period combine with motivations for attending the exhibition (such as being motivated by the exhibition’s theme) and have a clear positive influence on one’s emotional experience of the exhibition overall. The results of thematic analyses pertaining to the interview responses provide evidence that visitors processed both the emotional and historical content in the exhibition—indicative of having contemplative experiences and often processing the exhibition content in relation to themselves. These findings have implications for designing future exhibitions and contribute to our broader understanding of how modern-day audiences perceive and respond to historical art exhibitions and the work they comprise

Children's experiences of emergent diverse learning needs in the instrumental music studio

Background When children commence instrumental music tuition, diversity in their learning processes can emerge. Diverse learning needs refers to the range of challenges that can impact predictable learning processes and require additional support to facilitate successful development. However, children’s experiences in instrumental learning, including how diverse needs can present and be appropriately managed, are rarely examined in music education research. This study aims to address this gap in the research literature. Research Questions 1. How do diverse learning needs in seven-year-old children emerge in the instrumental music studio and affect continued engagement? 2. How can children’s diverse learning needs be appropriately supported by teachers? Summary of Content A longitudinal, qualitative investigation of seven-year-old children’s lived experience of cello skill development was undertaken. Unexpectedly, half of the child participants encountered diverse learning needs that extended beyond individual difference and presented extra challenges for musical development. Diverse needs included dyslexia, motor skill deficit, learning processing disorders, attention and focus issues, persistent anxiety, and intrusive synaesthesia. This study investigated, in fine-grained detail, the children’s experiences of emergent diverse learning needs, including how needs were identified, managed and accommodated by the children, teacher and parent. Findings indicated that the children’s diverse learning needs were idiosyncratic, and that their investment and self-perception in musical development, together with pragmatic, practical support and emotional guidance from the teacher and parent contributed to longer-term engagement. Significance This study, conducted by the teacher as researcher, provided the rare opportunity to investigate children’s experiences of emergent learning diversity in the instrumental music studio. This offers a unique contribution to the literature with important pedagogical implications for teaching practice and further research

Older people’s motivations for participating in community singing in Australia

The aim of this project was to investigate the motivations of older people who regularly attend community singing groups in Australia. Four focus group interviews were conducted with 64 participants belonging to three community singing groups. Participants explained their motivation to attend and sing with others in the groups. A total of eight motivating factors were identified via an inductive thematic analysis, including (1) the importance of singing in my life; (2) enormous pleasure of singing with little pressure; (3) challenge and achievement; (4) spiritual and uplifting emotions; (5) strength in overcoming my age, disease and hardship; (6) good leadership; (7) fellowship with others; and (8) purpose and meaning of group singing. The themes were discussed from various perspectives including positive psychology and the PERMA well-being model. The findings suggest that the older participants seem to experience different motivation factors while at different stages of their engagement in the groups

A qualitative exploration of aged-care residents' everyday music listening practices and how these may support psychosocial well-being

Strategies to support the psychosocial well-being of older adults living in aged-care are needed; and evidence points toward music listening as an effective, non-pharmacological tool with many benefits to quality of life and well-being. Yet, the everyday listening practices (and their associated specific psychosocial benefits) of older adults living in residential aged-care remain under-researched. The current study explored older adults' experiences of music listening in their daily lives while living in residential aged-care and considered how music listening might support their well-being. Specifically, what might go into autonomous listening activities? 32 Australian residents (aged 73–98) living in two Australian care facilities participated in semi-structured interviews. The results of a qualitative thematic analysis revealed three themes pertaining to "previous music experiences and interest," "current music listening," and "barriers to listening." While an interest in and access to music did not necessarily result in everyday listening practices, of those participants who did listen to music, perceived benefits included outcomes such as entertainment, enjoyment, relaxation, and mood regulation. Drawing on Ruud's notion of music as a "cultural immunogen" supporting well-being and Self-Determination Theory, theoretical implications of the findings are addressed, relating to how to create and support music activities in aged-care facilities so that they are engaging, meaningful, and promote emotional regulation, community, and well-being

Emotions, singing, and well-being

The work of emotion where music has been used for explicit well-being outcomes has been understudied. For example, the successful use of choral singing with marginalised groups is well established, but it has been most typically reported as means of providing opportunity for improved health particularly related to physical outcomes such as improved breath control or social activity. The work of emotion in expressing and managing feelings as well as expanding sense of self in relation to maintaining and expanding social relationships has been less investigated. By focusing on emotion, the current study purposefully aimed to expand the scope of the discourse and understanding of music’s role in well-being outcomes for individuals, small groups and the broader community. Two case study choirs were explored: a same sex and gender diverse youth chorus and a community senior choir. Thematic analyses of these rich data revealed the importance of emotions as corporeal, relational, socio-political and performative experiences, and emphasised the centre role of emotions across different age groups and group contexts. The research highlights the need to consider the work of emotions in social group contexts and also the power of emotions when experienced in musical contexts in particular. The present results highlight the significant and central role of emotions in gaining at least some of the well-being benefits associated with singing. Drawing on the PERMA model of well-being as a lens to interpret the results, implications arise when considering how to design and facilitate group singing opportunities for older adults

The transactional culture of chamber music performance now and into the future

Background: Professional chamber musicians, the venues that engage them and the audiences in attendance interact, deploying values related to artistic skill and endeavour, public engagement and entertainment, prestige and financial viability. Plans, actions and responses feed the scope, quality and outcomes of the experience and require indepth understanding particularly as we grapple with the challenges COVID-19 presents to the live music performance ecology. Aim: This study investigates the experiences of professional chamber ensembles as they encounter musical and social demands, manage communications and deliver performances in a concert series within a premier venue. It aims to offer insights into micro (interpersonal) and macro (organisational/cultural) experiences between musicians, venue and audiences. Method: Case study data come from 15 chamber ensembles (each comprising 2-5 players) participating in a concert series in a renowned Australian live music venue. These were first collected across 2019 and included: contextual information provided by the venue and the ensembles via email; field observations of the performances; and focus group discussions with performers, venue staff and audiences. Data were prepared (transcribed where necessary) and analysed using Interpretative Phenomenological Analysis. Additional data have been collected following the first two waves of COVID-19, to offer insights into prospects for the ensembles and the venue entering the 2021 concert season. Results: Emergent themes include the delicate balancing of economic, esteem and diversification values for both performers and venue in planning and accepting the work. Music cohesion offers a further point of emphasis, the ‘art of the ensemble’ being a key value for all stakeholders. A related theme of importance is interpersonal social interaction, at all levels and across all stages of planning and executing the performances. Pivotal factors surrounding the audience experience include depth of emotional experience, a balance between familiar and novel encounter, informality and experience of social inclusion. Conclusion: Specific and often subtle transactions shape the motivations, planning and execution of ensemble performances. While stakeholders inevitably have different and varied experiences, their interactions are pivotal in determining satisfaction and continue the virtuous cycle of transactions that constitutes chamber music performance. Implications: Fluid and responsive transactions seemingly sustain stakeholders in seeking routes to realise a ‘Covid Normal’ future in which the culture of ensemble performance can continue, now to be moderated using socially distanced, no-interval live performance and online variants suitable for potential lockdowns

Characteristics of self-reported favorite musical experiences

Research supports the folk wisdom that individual preferences are tied to our experiences: we like what we know and as a result, we know what we like. Yet our understanding of the elements contained in lived examples of musical experiences that facilitate enjoyment and investment in music is little described. The current study recruited Australian residents (N = 135) to complete an online survey, which asked them to describe their favorite musical experience with regard to its context and impact. The majority of favorite musical experiences involved listening to live music and performing. The descriptions provided indicated that these experiences resulted in layered emotional experiences, much more subtle than folk psychology would suggest. Further, thematic analysis results revealed that Gabrielsson’s Strong Experiences with Music Descriptive System adequately categorizes the elements of people’s favored experiences, with particular reference to general characteristics, bodily reactions, perceptual phenomena, cognitive aspects, emotional aspects, existential and transcendental aspects, and personal and social aspects. A wide variety of musical genres were involved, though pop, classical, rock, and hip-hop music featured predominately. By detailing key components which lead to favored musical experiences, the findings have implications regarding how musical engagement opportunities can be better designed to support continued musical investment, which has particular relevance for educational and community uses of music for fostering positive individual and community benefits