Prevalence of psychiatric disorders in infertile women and men undergoing in vitro fertilization treatment

BACKGROUND: This study was undertaken to determine the prevalence of psychiatric disorders in infertile women and men undergoing in vitro fertilization (IVF) treatment. METHODS: Participants were 1090 consecutive women and men, 545 couples, attending a fertility clinic in Sweden during a two-year period. The Primary Care Evaluation of Mental Disorders (PRIME-MD), based on the Diagnostic and Statistical Manual of Mental Disorders, 4th edn (DSM-IV), was used as the diagnostic tool for evaluating mood and anxiety disorders. RESULTS: Overall, 862 (79.1%) subjects filled in the PRIME-MD patient questionnaire. Any psychiatric diagnosis was present in 30.8 % of females and in 10.2 % of males in the study sample. Any mood disorder was present in 26.2 % of females and 9.2% of males. Major depression was the most common mood disorder, prevalent in 10.9 % of females and 5.1 % of males. Any anxiety disorder was encountered in 14.8 % of females and 4.9 % males. Only 21 % of the subjects with a psychiatric disorder according to DSM-IV received some form of treatment. CONCLUSIONS: Mood disorders are common in both women and men undergoing IVF treatment. The majority of subjects with a psychiatric disorder were undiagnosed and untreated

Composers on Stage: Ambiguous Authorship in Contemporary Music Performance

In recent years, workflows within the field of contemporary classical music have changed drastically. Increasingly, composers are active in the process of creating and co-creating performances, not only the auditory dimensions but also the visual design and theatrical staging. The practice has recently been termed The New Discipline (Walshe, 2016). Of particular interest to the present article are composers of this practice taking part in the performance itself, not as professional musicians but involving themselves in other ways. The article explores the ambivalent authorship at stake in these performances, arguing that they appear to be projects that reveal the processes of musical performance in ways that undermine the Romantic idea of the composer while concurrently celebrating that very same idea through their exposition and staging of the composer. The examples used to illustrate my argument are analyses of All the Time (Hodkinson 2001), Buenos Aires (Steen-Andersen 2014) and Ord for Ord (Rønsholdt 2014)