“Sounds good, but… what is it?” an introduction to outcome measurement from a music therapy perspective

“Sounds good, but… what is it?” This is a common reaction to outcome measurement by music therapy practitioners and researchers who are less familiar with its meanings and practices. Given the prevailing evidence-based practice movement, outcome measurement does ‘sound good’. Some practitioners and researchers, however, have a limited or unclear understanding of what outcome measurement includes; particularly with respect to outcome measures and related terminology around their use. Responding to the “what is it?” question, this article provides an introduction to such terminology. It explores what outcome measures are and outlines characteristics related to their forms, uses and selection criteria. While pointing to some debates regarding outcome measurement, including its philosophical underpinnings, this introduction seeks to offer a useful platform for a critical and contextual understanding of the potential use of outcome measures in music therapy

What about their performance do free jazz improvisers agree upon? A case study

When musicians improvise freely together—not following any sort of script, predetermined harmonic structure, or “referent”—to what extent do they understand what they are doing in the same way as each other? And to what extent is their understanding privileged relative to outside listeners with similar levels of performing experience in free improvisation? In this exploratory case study, a saxophonist and a pianist of international renown who knew each other's work but who had never performed together before were recorded while improvising freely for 40 min. Immediately afterwards the performers were interviewed separately about the just-completed improvisation, first from memory and then while listening to two 5 min excerpts of the recording in order to prompt specific and detailed commentary. Two commenting listeners from the same performance community (a saxophonist and drummer) listened to, and were interviewed about, these excerpts. Some months later, all four participants rated the extent to which they endorsed 302 statements that had been extracted from the four interviews and anonymized. The findings demonstrate that these free jazz improvisers characterized the improvisation quite differently, selecting different moments to comment about and with little overlap in the content of their characterizations. The performers were not more likely to endorse statements by their performing partner than by a commenting listener from the same performance community, and their patterns of agreement with each other (endorsing or dissenting with statements) across multiple ratings—their interrater reliability as measured with Cohen's kappa—was only moderate, and not consistently higher than their agreement with the commenting listeners. These performers were more likely to endorse statements about performers' thoughts and actions than statements about the music itself, and more likely to endorse evaluatively positive than negative statements. But these kinds of statements were polarizing; the performers were more likely to agree with each other in their ratings of statements about the music itself and negative statements. As in Schober and Spiro (2014), the evidence supports a view that fully shared understanding is not needed for joint improvisation by professional musicians in this genre and that performing partners can agree with an outside listener more than with each other

Lithium Experiment on Solar Neutrinos to Weight the CNO Cycle

The measurement of the flux of beryllium neutrinos with the accuracy of about 10% and CNO neutrinos with the accuracy 30% will enable to find the flux of pp-neutrinos in the source with the accuracy better than 1% using the luminosity constraint. The future experiments on \nu e- scattering will enable to measure with very good accuracy the flux of beryllium and pp-neutrinos on the Earth. The ratio of the flux of pp-neutrinos on the Earth and in the source will enable to find with very good accuracy a mixing angle theta solar. Lithium detector has high sensitivity to CNO neutrinos and can find the contribution of CNO cycle to the energy generated in the Sun. This will be a stringent test of the theory of stellar evolution and combined with other experiments will provide a precise determination of the flux of pp-neutrinos in the source and a mixing angle theta solar. The work on the development of the technology of lithium experiment is now in progress.Comment: Minor corrections, one reference added, 11 pages, 2 figures, talk given at NANP 2003, Dubna, Russia, June 200

Neutrino oscillations in low density medium

For the case of small matter effects: $V \ll \Delta m^2/2E$, where $V$ is the matter potential, we develop the perturbation theory using $\epsilon \equiv 2VE/\Delta m^2$ as the expansion parameter. We derive simple and physically transparent formulas for the oscillation probabilities in the lowest order in $\epsilon$ which are valid for arbitrary density profile. The formulas can be applied for propagation of the solar and supernova neutrinos in matter of the Earth, substantially simplifying numerical calculations. Using these formulas we study sensitivity of the oscillation effects to structures of the density profile situated at different distances from the detector $d$. We show that for the mass-to-flavor state transitions, {\it e.g.}, $\nu_2 \to \nu_e$, the sensitivity is suppressed for remote structures: $d > l_{\nu} E/\Delta E$, where $l_{\nu}$ is the oscillation length and $\Delta E/E$ is the energy resolution of detector.Comment: discussion simplified, clarifications adde

Tracing change during music therapy for depression: toward a markers-based understanding of communicative behaviors

This article focuses on behavioral markers—changes in communicative behaviors that reliably indicate the presence and severity of mental health conditions. We explore the potential of behavioral markers to provide new insights and approaches to diagnosis, assessment, and monitoring, with a particular focus on music therapy for depression. We propose a framework for understanding these markers that encompasses three broad functional categories fulfilled by communicative behaviors: semantic, pragmatic, and phatic. The disordered interactions observed in those with depression reflect changes in many types of communicative behavior, but much research has focused on pragmatic behaviors. However, changes in phatic behaviors also seem likely to be important, given their crucial role in facilitating interpersonal relationships. Given the strong phatic element of music-making, music represents a fertile context in which to explore these behaviors. We argue here that the uniquely multimodal and profoundly interactive environment of music therapy in particular allows for the identification of changes in pragmatic and phatic communicative behaviors that reliably indicate depression presence/severity. By identifying these behavioral markers, we open the door to new ways of assessing depression, and improving diagnosis and monitoring. Furthermore, this markers-based approach has broad implications, being applicable beyond depression and beyond music therapy

Learning from service evaluation: Identifying 'impact areas' of music therapy services.

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Score-dependency: over-reliance on performing music from notation reduces aural pitch replication skills

Background in music performance: Most music is performed or improvised by ear, but Western classical musicians primarily perform music from notated scores. Background in music perception: Classical musicians have greater difficulties playing melodies by ear than musicians with other backgrounds (Woody & Lehman, 2010). This ties in with Harris and de Jong’s (2015) finding that non-improvising musicians exhibit less activation in the right auditory cortex than improvising musicians. The right auditory cortex is known to play a central role in pitch processing (Peretz & Zatorre, 2005). Aims: (1) To investigate score-dependency (SD) in a behavioural study as a tendency for classical musicians to rely on notation over aural engagement in a music-learning scenario, and quantify SD levels for research. (2) To establish whether SD affects pitch perception. (3) To establish whether SD is a result of long term engagement in a score-focussed performance culture that precludes or minimizes participation in ear-playing scenarios. Main contribution: Through a behavioural experiment we explore how score-dependency (SD) affects aural reproduction mechanisms, especially with regards to pitch. We introduce the SDR (score-dependency rating) measure for establishing musicians’ individual levels of SD in relation to that of their peers. 20 notationally literate classical musicians were played a number of melodies and were asked to reproduce them on their instruments while simultaneously referring to provided music notation. By manipulating the degree of pitch and rhythm information shown in the music notation, we controlled the amount of pitch/rhythm information participants had to reproduce by ear alone. Counting how many times they needed to hear each melody again before task completion let us quantify their individual levels of dependence on notation. More score-dependent musicians showed a significant effect of struggling to reproduce pitch content—but not rhythm content—by ear. This effect was not found for nondependent musicians. As pitch and rhythm are likely processed separately, SD may selectively affect aural pitch perception mechanisms, explaining reportedly limited activations in the right auditory cortex among SD musicians. Participants' age and years of music experience correlated with their SD levels, suggesting that long-term reliance on notation may increase this effect. Our results therefore indicate that SD may be an extreme form of overlearning, stemming from a long-term involvement in score-focussed performance practice without engaging in mitigating ear-playing scenarios. This posits SD as an effect of extreme task specialisation that creates a dependency on a specific technology (notation). We argue that this may limit a wider embodied engagement with music in favour of developing skill-specific cognitive mechanisms. Implications: Our data suggests that a score-specific musical focus as often found in classical music education can endanger aural reproduction skills for pitch and associated perception/action mechanisms. Consequently, results have implications for music education and performance, as well as for cognitive and neuroscientific research into perception of music

Status of the Solar Neutrino Puzzle

Using the latest results from the solar neutrino experiments and a few standard assumptions, I show that the popular solar models are ruled out at the 3$\sigma$ level or at least TWO of the experiments are incorrect. Alternatively, one of the assumptions could be in error. These assumptions are spelled out in detail as well as how each one affects the argument.Comment: Latex, 8 pages + 4 uuencoded figures, minor changes made, FERMILAB-PUB/273-

The views and practice of oncologists towards nutritional support in patients receiving chemotherapy

Malnutrition in patients with cancer is common and an adverse prognostic indicator. A questionnaire answered by 357 (72%) UK specialist oncological trainees suggests that they lack the ability to identify factors that place patients at risk from malnutrition. Major barriers to effective nutritional practice included lack of guidelines, knowledge and time