Towards optimal use of antithrombotic therapy of people with cancer at the end of life: a research protocol for the development and implementation of the SERENITY shared decision support tool Thrombosis Research

Background: Even though antithrombotic therapy has probably little or even negative effects on the well-being of people with cancer during their last year of life, deprescribing antithrombotic therapy at the end of life is rare in practice. It is often continued until death, possibly resulting in excess bleeding, an increased disease burden and higher healthcare costs. Methods: The SERENITY consortium comprises researchers and clinicians from eight European countries with specialties in different clinical fields, epidemiology and psychology. SERENITY will use a comprehensive approach combining a realist review, flash mob research, epidemiological studies, and qualitative interviews. The results of these studies will be used in a Delphi process to reach a consensus on the optimal design of the shared decision support tool. Next, the shared decision support tool will be tested in a randomised controlled trial. A targeted implementation and dissemination plan will be developed to enable the use of the SERENITY tool across Europe, as well as its incorporation in clinical guidelines and policies. The entire project is funded by Horizon Europe.Results: SERENITY will develop an information-driven shared decision support tool that will facilitate treatment decisions regarding the appropriate use of antithrombotic therapy in people with cancer at the end of life. Conclusions: We aim to develop an intervention that guides the appropriate use of antithrombotic therapy, prevents bleeding complications, and saves healthcare costs. Hopefully, usage of the tool leads to enhanced empowerment and improved quality of life and treatment satisfaction of people with advanced cancer and their care givers

Adolescent engagement in computer-based composition Analysing the process and product in relation to instrumental experience

Available from British Library Document Supply Centre-DSC:DXN049573 / BLDSC - British Library Document Supply CentreSIGLEGBUnited Kingdo

Participant approaches to and reflections on learning to play a 12-bar blues in an asynchronous e-learning environment

This study investigated the viability of learning to play an improvised 12-bar blues on keyboard with both hands together in an asynchronous e-learning environment. The study also sought to reveal participant approaches to and reflections on this learning experience. Parti cipants were video-taped as they engaged with six ‘Blues Activities’, supported by audio ‘guide’ and ‘backing’ tracks and a ‘remote facilitator’. Participants required nine or ten learning sessions, over a period of six weeks, to successfully complete the ‘Blues Activities’. Individual, semi-structured interviews, designed to reveal participant reflections on their engagement with the ‘Blues Activities’ were conducted with the participants after they had completed the learning sessions. Results revealed that: (1) at the end of the learning sessions, all participants were able to play the 12-bar improvised blues; (2) participants engaged in five distinct learning behaviours; and (3) four participant ‘reflective themes’ emerged from the semi-structured interviews. The five distinct learning behaviours were interpreted as ‘learning activities’: ‘instruction’, ‘copying’, ‘practising’, ‘playing’ and ‘evaluating’. The four ‘reflective themes’ were interpreted as: ‘activities’, ‘feelings’, ‘evaluation’ and ‘difficulties’. Comments made by participants during interviews and email exchanges, provided support for the researcher interpretations of the ‘learning activities’ and ‘reflective themes’ through the process of triangulation. Implications for music education are discussed

How does formal instrumental music tuition (FIMT) impact on self- and teacher-evaluations of adolescents’ computer-based compositions?

This study examined 48 computer-based compositions produced by adolescents (13–14 years old) using evaluations by specialist music teachers and the adolescents’ self-evaluations and self-assessments. Based on previous research (Seddon and O’Neill, 2001), we expected that the teachers’ evaluations of the compositions would not differentiate between the compositions by adolescents with or without 2–4 years prior experience of formal instrumental music tuition (FIMT). We also predicted that the self-evaluations and selfassessments of adolescents with FIMT would be higher than the self-evaluations and self-assessments by adolescents without FIMT. The results supported our predictions suggesting that adolescents’ self-evaluations of their ability to compose and their self-assessments of their own compositions are determined by their levels of self-perceived competence, and that this is influenced by whether or not they have previous experience of FIMT. Implications for the use of selfevaluations and self-assessments in music education are discussed