ORCID Profile
0000-0002-1112-6448
Current Organisations
Trinity College London
,
UNSW Sydney
,
Institute of Genomics and Integrative Biology
,
Juilliard School
,
San Diego State University
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Publisher: SAGE Publications: SAGE Business Cases Originals
Date: 2019
Publisher: Cambridge University Press (CUP)
Date: 21-07-2022
DOI: 10.1017/S0144686X2200068X
Abstract: Informal care-givers play an important role, with health-care systems relying on the billions of hours of care they provide. Care-givers experience high levels of psychological distress and isolation however, the efficacy of what support is the best for care-givers is unclear. The primary aim of this systematic review is to determine the effect of group creative arts interventions on informal care-givers of adults. The secondary aim is to understand the impact of group type, the primary outcomes and how they are measured. Given the heterogeneous nature of the included studies, a narrative synthesis approach was taken. Database searches identified 2,587 studies, 25 of which met the full inclusion criteria. Studies included group creative arts interventions for either care-givers only (N = 8) or for care-giver/cared-for dyads (N = 17). The majority of the participants in the studies were older Caucasian females. Group creative arts interventions are beneficial for care-givers and for the person being cared for however, benefits differ depending on whether the group is for care-givers only or for care-giver/cared-for dyads. Future research will benefit from care-givers being involved in the design of the creative arts intervention to provide input regarding group type and relevant outcome measures. Future research should consider targeting their intervention to care-givers with a low baseline score to increase the ability of the study to demonstrate a significant difference.
Publisher: Public Library of Science (PLoS)
Date: 18-11-2020
DOI: 10.1371/JOURNAL.PONE.0241196
Abstract: Research in music and emotion has long acknowledged the importance of extra-musical cues, yet has been unable to measure their effect on emotion communication in music. The aim of this research was to understand how extra-musical cues affect emotion responses to music in two distinguishable cultures. Australian and Cuban participants ( N = 276) were instructed to name an emotion in response to written lyric excerpts from eight distinct music genres, using genre labels as cues. Lyrics were presented primed with genre labels (original priming and a false, lured genre label) or unprimed. For some genres, emotion responses to the same lyrics changed based on the primed genre label. We explain these results as emotion expectations induced by extra-musical cues. This suggests that prior knowledge elicited by lyrics and music genre labels are able to affect the musical emotion responses that music can communicate, independent of the emotion contribution made by psychoacoustic features. For ex le, the results show a lyric excerpt that is believed to belong to the Heavy Metal genre triggers high valence/high arousal emotions compared to the same excerpt primed as Japanese Gagaku , without the need of playing any music. The present study provides novel empirical evidence of extra-musical effects on emotion and music, and supports this interpretation from a multi-genre, cross-cultural perspective. Further findings were noted in relation to fandom that also supported the emotion expectation account. Participants with high levels of fandom for a genre reported a wider range of emotions in response to the lyrics labelled as being a song from that same specific genre, compared to lower levels of fandom. Both within and across culture differences were observed, and the importance of a culture effect discussed.
Publisher: SAGE Publications
Date: 08-2016
Abstract: Anger perception in music was investigated to determine if this emotion is cross-culturally decoded. A literature review of studies which investigated anger cross-culturally revealed variance between encoders and decoders. In an attempt to explain this variance, these data were examined using existing cross-cultural theories in music psychology, but each was poor in explaining some of the variance observed. For ex le, none were able to explain explicitly why anger expressed in Japanese music was poorly decoded by Indian, Japanese, and Swedish listeners. New interpretations of the published data were conducted through Hofstede’s cross-cultural dimensions theory and the theory of musical fit. Building on these theories, the Stereotype Theory of Emotion in Music (STEM) was proposed. According to STEM, listeners filter the emotion they perceive according to stereotypes of the encoding culture. For ex le, Japanese culture is stereotyped as an anger-reticent culture, explaining the low anger decoder ratings for ‘anger-encoded’ music. STEM suggests that anger perception is culturally influenced by a stereotyping process. The theory predicts that anger will be perceived if the decoding culture has no stereotype associated with the culture the music is believed to be from, leaving the music free to be interpreted through psychophysical or culture-specific cues. STEM presents a new way forward in understanding the cognitive processing of emotion in music.
Publisher: Informa UK Limited
Date: 02-12-2020
Publisher: Wiley
Date: 20-04-2023
DOI: 10.1002/JOCB.587
Publisher: SAGE Publications
Date: 22-10-2018
Abstract: The aim of this paper was to investigate if a general consensus could be established for the term “musician.” Research papers ( N = 730) published between 2011 and 2017 were searched. Of these, 95 papers were identified as investigating relationships of any sort connected with a musician-like category ( e.g., comparison of musically trained vs. non-musically trained people), of which 39 papers detailing comparative studies exclusively between musicians and non-musicians were analyzed. Within this literature, a variety of musical expertise criteria were used to define musicians, with years of music training (51% of papers) and years of music lessons (13% of papers) being the most commonly used criteria. Findings confirm a general consensus in the literature, namely, that a musician, whether or not selected a priori, has at least six years of musical expertise (IQR = 4.0–10.0 years). Other factors such as practice time and recruiting location of musicians were also analyzed, as well as the implications of how this definition fits in relation to the complexities surrounding the construct of the musician. The “six-year rule,” however, was robust overall.
Publisher: Copernicus GmbH
Date: 14-11-2016
Abstract: Abstract. Accurate assessment of anthropogenic carbon dioxide (CO2) emissions and their redistribution among the atmosphere, ocean, and terrestrial biosphere – the “global carbon budget” – is important to better understand the global carbon cycle, support the development of climate policies, and project future climate change. Here we describe data sets and methodology to quantify all major components of the global carbon budget, including their uncertainties, based on the combination of a range of data, algorithms, statistics, and model estimates and their interpretation by a broad scientific community. We discuss changes compared to previous estimates and consistency within and among components, alongside methodology and data limitations. CO2 emissions from fossil fuels and industry (EFF) are based on energy statistics and cement production data, respectively, while emissions from land-use change (ELUC), mainly deforestation, are based on combined evidence from land-cover change data, fire activity associated with deforestation, and models. The global atmospheric CO2 concentration is measured directly and its rate of growth (GATM) is computed from the annual changes in concentration. The mean ocean CO2 sink (SOCEAN) is based on observations from the 1990s, while the annual anomalies and trends are estimated with ocean models. The variability in SOCEAN is evaluated with data products based on surveys of ocean CO2 measurements. The global residual terrestrial CO2 sink (SLAND) is estimated by the difference of the other terms of the global carbon budget and compared to results of independent dynamic global vegetation models. We compare the mean land and ocean fluxes and their variability to estimates from three atmospheric inverse methods for three broad latitude bands. All uncertainties are reported as ±1σ, reflecting the current capacity to characterise the annual estimates of each component of the global carbon budget. For the last decade available (2006–2015), EFF was 9.3 ± 0.5 GtC yr−1, ELUC 1.0 ± 0.5 GtC yr−1, GATM 4.5 ± 0.1 GtC yr−1, SOCEAN 2.6 ± 0.5 GtC yr−1, and SLAND 3.1 ± 0.9 GtC yr−1. For year 2015 alone, the growth in EFF was approximately zero and emissions remained at 9.9 ± 0.5 GtC yr−1, showing a slowdown in growth of these emissions compared to the average growth of 1.8 % yr−1 that took place during 2006–2015. Also, for 2015, ELUC was 1.3 ± 0.5 GtC yr−1, GATM was 6.3 ± 0.2 GtC yr−1, SOCEAN was 3.0 ± 0.5 GtC yr−1, and SLAND was 1.9 ± 0.9 GtC yr−1. GATM was higher in 2015 compared to the past decade (2006–2015), reflecting a smaller SLAND for that year. The global atmospheric CO2 concentration reached 399.4 ± 0.1 ppm averaged over 2015. For 2016, preliminary data indicate the continuation of low growth in EFF with +0.2 % (range of −1.0 to +1.8 %) based on national emissions projections for China and USA, and projections of gross domestic product corrected for recent changes in the carbon intensity of the economy for the rest of the world. In spite of the low growth of EFF in 2016, the growth rate in atmospheric CO2 concentration is expected to be relatively high because of the persistence of the smaller residual terrestrial sink (SLAND) in response to El Niño conditions of 2015–2016. From this projection of EFF and assumed constant ELUC for 2016, cumulative emissions of CO2 will reach 565 ± 55 GtC (2075 ± 205 GtCO2) for 1870–2016, about 75 % from EFF and 25 % from ELUC. This living data update documents changes in the methods and data sets used in this new carbon budget compared with previous publications of this data set (Le Quéré et al., 2015b, a, 2014, 2013). All observations presented here can be downloaded from the Carbon Dioxide Information Analysis Center (doi:10.3334/CDIAC/GCP_2016).
Publisher: University of California Press
Date: 2016
DOI: 10.12952/JOURNAL.ELEMENTA.000122
Abstract: The role of sea ice in the carbon cycle is minimally represented in current Earth System Models (ESMs). Among potentially important flaws, mentioned by several authors and generally overlooked during ESM design, is the link between sea-ice growth and melt and oceanic dissolved inorganic carbon (DIC) and total alkalinity (TA). Here we investigate whether this link is indeed an important feature of the marine carbon cycle misrepresented in ESMs. We use an ocean general circulation model (NEMO-LIM-PISCES) with sea-ice and marine carbon cycle components, forced by atmospheric reanalyses, adding a first-order representation of DIC and TA storage and release in/from sea ice. Our results suggest that DIC rejection during sea-ice growth releases several hundred Tg C yr−1 to the surface ocean, of which & 2% is exported to depth, leading to a notable but weak redistribution of DIC towards deep polar basins. Active carbon processes (mainly CaCO3 precipitation but also ice-atmosphere CO2 fluxes and net community production) increasing the TA/DIC ratio in sea-ice modified ocean-atmosphere CO2 fluxes by a few Tg C yr−1 in the sea-ice zone, with specific hemispheric effects: DIC content of the Arctic basin decreased but DIC content of the Southern Ocean increased. For the global ocean, DIC content increased by 4 Tg C yr−1 or 2 Pg C after 500 years of model run. The simulated numbers are generally small compared to the present-day global ocean annual CO2 sink (2.6 ± 0.5 Pg C yr−1). However, sea-ice carbon processes seem important at regional scales as they act significantly on DIC redistribution within and outside polar basins. The efficiency of carbon export to depth depends on the representation of surface-subsurface exchanges and their relationship with sea ice, and could differ substantially if a higher resolution or different ocean model were used.
Publisher: SAGE Publications
Date: 05-2014
DOI: 10.1057/JITTC.2014.1
Abstract: Business–information technology (IT) initiatives in pedagogy are no longer a novelty. Still, some of the best known music examination boards seem reluctant to change, and continue to adopt a system largely bereft of it to run their business. Aligning business and IT in music examination boards is proving to be a theoretical challenge, and an unresolved issue at the corporate level. Involuntarily participation in the increasingly prevalent reliance on new technologies to augment business opportunity, as part of a wider process of globalization, is no longer a viable option. Although some boards are seeing this alignment as an enabler of business goals, others see it as an inhibitor. Who is right? Which strategy reaches the business goal of maximum enrollments? This paper opens a discussion on possible best-aligned business–IT decisions to enable best business activity and uses a case study to examine the underutilization of business–IT alignment adopted by one of the most successful music examination board in the world. This paper questions whether the use of IT in music examination defines being a market leader or not. By using a survey, in-depth interviews and a pilot study, this paper presents an IT alignment fit between the board and its IT platforms. Finally, the paper leverages the value of an initiative composed of thoughtful business strategy and IT to open up new business opportunities, and raises unanswered questions for the reader.
Publisher: The Ohio State University Libraries
Date: 26-11-2019
DOI: 10.18061/EMR.V14I1-2.6376
Abstract: This research investigated whether negative emotional responses to heavy-metal and hip-hop music could be stereotypes of the music genres. It was hypothesized that heavy-metal and hip-hop music with positive lyrics would be perceived as expressing more negative (negative valence/high arousal) emotions, compared with pop music excerpts with identical lyrics. Participants listened to either two heavy-metal or two hip-hop test stimuli and two pop control stimuli. They then responded by stating what emotion they perceived that the music expressed. Results indicated that heavy-metal and hip-hop stimuli were perceived as expressing more negative emotions than pop stimuli. Lyrics were recognized above chance in both heavy metal and hip hop, suggesting that the negative emotion bias was not a result of misunderstanding the lyrics. The Stereotype Theory of Emotion in Music (STEM) explains the findings in terms of an emotion filter which is activated to simplify emotion perception processing. The conclusions provide a novel way of understanding the cultural and social contribution of emotion in music.
Publisher: SAGE Publications
Date: 10-03-2019
Abstract: This study investigated whether emotional responses to a music genre could be predicted by stereotypes of the culture with which the music genre is associated. A two-part study was conducted. Participants listened to music s les from eight distinct genres: Fado, Koto, Heavy Metal, Hip Hop, Pop, Samba, Bolero, and Western Classical. They also described their spontaneous associations with the music and their spontaneous associations with the music’s related cultures: Portuguese, Japanese, Heavy Metal, Hip Hop, Pop, Brazilian, Cuban, and Western culture, respectively. Results indicated that a small number of specific emotions reported for a music genre were the same as stereotypical emotional associations of the corresponding culture. These include peace and calm for Koto music and Japanese culture, and anger and aggression for Heavy Metal music and culture. We explain these results through the stereotype theory of emotion in music (STEM), where an emotion filter is activated that simplifies the assessment process for a music genre that is not very familiar to the listener. Listeners familiar with a genre reported fewer stereotyped emotions than less familiar listeners. The study suggests that stereotyping competes with the psychoacoustic cues in the expression of emotion.
Publisher: American Association for the Advancement of Science (AAAS)
Date: 19-11-2021
Abstract: In the spring of 2021, Delhi, India experienced a wave of coronavirus cases that overwhelmed healthcare services despite the population showing a high level of immune positivity. Dhar et al . collated a mixture of serosurveillance, quantitative polymerase chain reaction, and genomic data, finding that waves of variants had passed through the Delhi population during 2020 and 2021. The alpha (B.1.1.7) variant dominated in March 2021 and was rapidly replaced by the delta (B.1.617.2) variant in April and May 2021. The delta variant outcompeted its predecessors by mutations that enhanced replication, immune evasion, and host receptor avidity, thus increasing transmissibility, reinfection, and vaccination breakthrough. —CA
Location: United Kingdom of Great Britain and Northern Ireland
Start Date: 2019
End Date: 2019
Funder: Department of Education, Skills and Employment
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