Music Delivery Research Articles

IPad and Digital Sheet Music Delivery: Supporting Student Development and Encouraging Digital Score Use Through Library-Circulated Hardware

English Abstract: The future of music scores is hybrid. In the literature and in discussion on this topic we have been noting that we will not see the eradication of print materials, nor will electronic-based scores be a passing fancy. For many academic libraries with robust sheet music collections, the idea of funding online collections is challenging, particularly when looked at in the context of clearing shelves or replacing print. This paper offers another way of viewing a shift to more digital score content. This project effectively delivered digital scores to patrons without additional cost to them, and provided experiential learning that they likely would not have had in any other context of their time earning their music degree. In light of changing budget models, the outlined project offers a new way that music libraries can participate in making valuable and highly visible contributions to their partner institutions. French Abstract: L’avenir des partitions musicales est hybride. Dans la littérature et les discussions sur ce sujet, nous avons noté que nous n’assisterons pas à la disparition des supports imprimés et que, dans le même temps, les partitions électroniques ne seront pas une mode passagère. Pour de nombreuses bibliothèques universitaires qui possèdent de riches collections de partitions, l’idée de financer des collections en ligne est un défi, en particulier lorsque l’on se place dans un contexte visant à libérer des rayonnages ou à remplacer des documents imprimés. Cet article propose une autre façon d’envisager le passage à un volume plus important de partitions numériques. Ce projet a permis de proposer des partitions numériques aux utilisateurs sans leur imposer de coûts supplémentaires, et de leur apporter une expérience pédagogique qu’ils n’auraient probablement pas eue dans un autre contexte au cours de leurs études musicales. À la lumière de l’évolution des modèles budgétaires, le projet décrit offre de nouveaux horizons aux bibliothèques musicales, qui peuvent ainsi apporter une contribution précieuse et très visible à leurs institutions partenaires. German Abstract: Die Zukunft der Musiknoten ist hybrid. In der Literatur und in Gesprächen zu diesem Thema haben wir festgestellt, dass wir weder die Abschaffung gedruckter Materialien erleben, noch dass elektronische Partituren nur eine vorübergehende Modeerscheinung sein werden. Für viele wissenschaftliche Bibliotheken mit umfangreichen Notensammlungen stellt die Vorstellung, digitale Sammlungen zu finanzieren, eine Herausforderung dar, insbesondere im Hinblick auf das Makulieren von Noten oder den Austausch gedruckter Medien durch digitale. Dieser Aufsatz bietet eine andere Sichtweise auf die Umstellung hin zu mehr digitalen Noten. Das beschriebene Projekt lieferte den Benutzern digitale Notenausgaben ohne zusätzliche Kosten für sie und ermöglichte ihnen erfahrungsbasiertes Lernen, das sie während ihres Musikstudiums wahrscheinlich in keinem anderen Zusammenhang gehabt hätten. Angesichts sich ändernder Finanzierungsmodelle bietet das skizzierte Projekt einen neuen Ansatz, wie Musikbibliotheken einen wertvollen und weithin sichtbaren Beitrag für ihre Partnerinstitutionen zu leisten vermögen.

Acceptability and Feasibility of a Patient-Oriented Music Intervention to Reduce Pain in the Intensive Care Unit: Protocol for a Crossover Pilot Randomized Controlled Trial

Many patients experience pain in the intensive care unit (ICU) despite receiving pain medication. Research has shown that music can help reduce pain. Music interventions studied so far have not used music streaming to generate playlists based on patient preferences while incorporating recommended tempo and duration. Previous research has focused on postoperative ICU patients able to self-report, which is underrepresentative of the ICU population that might benefit from a music intervention for pain management. We developed a new patient-oriented music intervention (POMI) that incorporates features based on theoretical, empirical, and experiential data intended to be used in the ICU. Such a music intervention should consider the expertise of ICU patients, family members, and nursing staff, as well as the practicality of the intervention when used in practice. The primary objectives of this study are to (1) evaluate the acceptability and feasibility of the POMI to reduce pain in ICU patients and (2) evaluate the feasibility of conducting a crossover pilot randomized controlled trial (RCT) for intervention testing in the ICU. A secondary objective is to examine the preliminary efficacy of the POMI to reduce pain in ICU patients. A single-blind 2×2 crossover pilot RCT will be conducted. Patients will undergo 1 sequence of 2 interventions: the POMI which delivers music based on patients' preferences via headphones or music pillow for 20-30 minutes and the control intervention (headphones or pillow without music). The sequence of the interventions will be inverted with a 4-hour washout period. Timing of the interventions will be before a planned bed turning procedure. Each patient will undergo 1 session of music. Twenty-four patients will be recruited. Patients able to self-report (n=12), family members of patients unable to self-report (n=12), and nursing staff (n=12) involved in the bed turning procedure will be invited to complete a short questionnaire on the POMI acceptability. Data will be collected on the feasibility of the intervention delivery (ie, time spent creating a playlist, any issue related to headphones/pillow or music delivery, environmental noises, and intervention interruptions) and research methods (ie, number of patients screened, recruited, randomized, and included in the analysis). Pain scores will be obtained before and after intervention delivery. Recruitment and data collection began in March 2022. As of July 5, 2022, in total, 22 patients, 12 family members, and 11 nurses were recruited. Methodological limitations and strengths are discussed. Study limitations include the lack of blinding for patients able to self-report. Strengths include collecting data from various sources, getting a comprehensive evaluation of the intervention, and using a crossover pilot RCT design, where participants act as their own control, thus reducing confounding factors. ClinicalTrials.gov NCT05320224; https://clinicaltrials.gov/ct2/show/NCT05320224. DERR1-10.2196/40760.

Kaseteista suoratoistoon

From Compact Cassettes to Music Streaming Services: The Sociocultural Change of Background Music Industry
 The history of electronically mediated background music in Finland can be divided into era of scarcity, era of availability and era of plenty. The centralised and regulated supply of background music of the 1970s was followed by re-regulation of media and establishment of commercial radio stations increasing music consumption and listening to it while engaged to other activities. Analogue and tape-based solutions were first replaced with physical digital platforms and programming and finally with music streaming applications and music contents of the international media houses.
 The transformation of music platforms, music delivery channels and modes of listening are closely related to histories of technology, ­the social use of music and agencies of background music entrepreneurs. The article clarifies the transforming relationship of the environment, listening and music from the 1970s to the present day with the help ­of recent and archived interviews of representatives of background music companies.
 Keywords: background music; music cultures; anthropology of sound

Barriers to Implementation of Music Listening Interventions for Cancer-Related Phenomena: A Mapping Review.

Introduction: Despite music listening interventions (MLIs) being recommended in multiple clinical practice guidelines, implementation into oncology clinical practice sites has been slow. This mapping review aimed to critique and identify barriers to MLI clinical implementation, as well as offer practical solutions for both clinicians and researchers. Methods: A PRISMA-based mapping review of MLI literature was performed using CINAHL, PubMed, PsycINFO, and Web of Science databases. Eligibility criteria included studies with MLIs as independent variables and cancer-related phenomena as outcome variables. Search was performed in October 2021, and no date limit was set. Results: Thirty-eight studies met the eligibility criteria for inclusion. Several aspects of MLI studies suggested potential barrier status to clinician or patient adoption. These findings included choice of music, music delivery hardware, dose of MLI, and timing of MLI specific to outcomes of interest (e.g., pain, anxiety, mood). Few investigators addressed the concurrent effects of pharmaceuticals (e.g., analgesics, anxiolytics), and controlling for the effects of competing auditory stimuli was minimal. Discussion: This review has identified several barriers that may obstruct clinician and patient adoption of MLIs, despite level of evidence for MLIs that presently exists in the literature. The review makes practical suggestions for clinicians, researchers, and patients to overcome the present barriers and ease MLIs into common practice in clinics and homes.

Exploring approaches to community music delivery by practitioners with and without additional support needs: A qualitative study

Previous community music research indicates a diverse field with many forms of practice. Understanding the views of community music practitioners about their approaches offers an important way to understand their professional identities and strategies they employ. A qualitative study interviewed five community music practitioners from the same company to investigate their approaches. Two had 30 years of experience and were training three practitioners in workshop leading; one trainee (Joseph) has additional support needs (ASN). Two lay researchers with ASN contributed to thematic analysis. Two themes were identified: pedagogical identities accentuated personalization and enacting inclusivity as key dimensions of being a workshop leader; interpersonal processes demonstrated the crucial nature of individualized communication, humour and building relationships. Although Joseph’s interview shared these themes, he also identified confidence, adaptability and creativity as key qualities for himself to develop and expressed a strong personal identification with participants’ development of self-efficacy. While interviewees had varied musical backgrounds and skills, common principles may offer a basis for the translatable beneficial impacts of community music across the highly diverse facilitators and settings that characterize this field. Appreciating pedagogical contributions of practitioners with ASN can help in envisaging new identities and ways of being creative and inclusive in community music practice.

Inclusion for all; all for inclusion

The title of this editorial speaks to the aspirational goal of inclusion for proponents and practitioners of community music. Inspired by feminist care ethics, Janelize Morelli’s article connects care with love, compassion and Lee Higgins’s oft-cited concept of hospitality. Seán Doherty’s article provides a personalized insight into a composer’s struggles to reconcile conservatory-trained musical thinking with the participatory goal of promoting social inclusion for asylum seekers in Ireland. Lotte Latukefu and Irina Verenikina’s article extends the dialogue on street music by describing the informal learning efforts by the Australian organizers of HONK! Oz. The articles ‘The CI Music Hour’ and ’Exploring approaches to community music delivery by practitioners with and without additional support needs’ address inclusion more directly – the former through a study of the experiences of those with cochlear implants, the latter by interrogating the possibilities of including those with additional support needs as leaders, not just as followers. Finally, Karl Gunther’s article considers the historical practice of auditions for community choirs.

Understanding the Effects of Music Care on the Lived Experience of Isolation and Loneliness in Long-Term Care: A Qualitative Study.

This qualitative study aims to understand the lived experience of residents and other stakeholders during the implementation of a comprehensive music program in long-term care. It was conducted using a subset of 15 long-term care homes from the Room 217 Foundation Music Care Partners (MCP) “Grow” study in Ontario, Canada. The MCP program’s approach to music delivery uses therapeutic music practices such as “music care” to improve the care experience for caregivers and residents in long-term care homes. Thirty-two participants were interviewed, including staff, volunteers, and residents. Data were transcribed and analyzed using a modified grounded theory approach based on emergent themes. In total, seven themes arose from the data: limited resources, distinct experiences, life enrichment, dynamic relationships, program flexibility, potential continuity, and enhanced socialization. This study provides insight on barriers, enablers, and outcomes of the MCP program and on key considerations for implementing a novel interdisciplinary music program in a healthcare setting.

Effects of music intervention on anxiety, depression, and quality of life of cancer patients receiving chemotherapy: a systematic review and meta-analysis.

Music may be a safe and effective coping strategy for psychological management. The objectives of this review were to identify the effects of music interventions on anxiety, depression, and quality of life (QoL) among cancer patients receiving chemotherapy. Fourteen databases were searched from the inception date to December 2020 to identify eligible randomized controlled trials (RCTs). Gray literature was also examined. The protocol of this systematic review was registered with PROSPERO (registration number: CRD42021223845). Two reviewers independently assessed eligibility, extracted data, and evaluated methodological quality. Meta-analysis was done. Subgroup analysis was conducted for intervention types, the person selecting music, music delivery method, timing, and session duration. Nine RCTs were identified, among which six were eligible for the meta-analysis. All studies were at a high risk of bias, and the overall quality of evidence was low to very low. The pooled results reveal that music intervention could reduce anxiety (SMD: - 0.29, 95% CI - 0.50 to - 0.08) and improve QoL (SMD: 0.42, 95% CI 0.02 to 0.82). However, it fails to affect depression (p = 0.79). The findings demonstrate no significant difference between patient-selected music and researcher-selected music, recorded music, and live music, while a length of 15-20min/session and offering immediately before chemotherapy are more effective on anxiety than that of 30-45min and delivering during chemotherapy. Music intervention may be a beneficial tool for anxiety reduction and QoL among cancer patients receiving chemotherapy. More high-quality RCTs are needed to ascertain the true impact of those outcomes.

Shaping the digital space: Exploring relationships in online music therapy session delivery

ABSTRACT Introduction COVID-19 challenged music therapists to provide services in a range of virtual formats, including synchronous and asynchronous session delivery. While models of telehealth delivery and essential technology skills have been discussed in recent literature and professional development courses, the ways in which the client--therapist relationship has been impacted have not been fully explored. Method Reflective vignettes shaped by the author’s lived experience explore this impact in the context of collaboration with two therapy participants in different formats: (a) live Zoom music therapy sessions with a neurodivergent child, and (b) pre-recorded music therapy sessions focused on recreating improvisational experiences for/with an autistic child. Results Narrative storytelling highlights the author’s experience navigating three phases of deepening virtual connections over time, which include exploration of online delivery challenges such as technological problems, development of skills for video creation, and translating in-person experiences into online formats. Discussion Vignettes contextualize session events within the author’s practice of telehealth and the ways these practices compare with pre-COVID sessions. Throughout this narrative, the power of technology to expand and limit the author’s ability to co-construct meaningful therapeutic musical encounters is discussed.

Clinical Issues-October 2021.

Parental presence protocols Key words: anxiety reduction, parental presence, pediatric patients, induction, emergence. Music in the OR Key words: music intervention, headphones, patient anxiety, music selection, personal music delivery device. Transfusion regulations Key words: blood transfusion, documentation requirements, blood product administration, plasma. Clinical blood product transfusions Key words: adverse transfusion reaction, patient assessment, patient blood management, incompatibility, blood products.

Effect of Live Versus Recorded Music on Children Receiving Mechanical Ventilation and Sedation.

Music is often used as a nonpharmacological pain management strategy, but little evidence is available about its role in pediatric critical care patients. To determine the effect of a live music intervention versus a recorded music intervention on heart rate, blood pressure, and respiratory rate in pediatric critical care patients receiving mechanical ventilation and sedation. An exploratory randomized controlled trial was performed in a pediatric intensive care unit. Participants were randomly allocated to receive a live music intervention with standard care or a recorded music intervention with standard care. Each intervention was delivered by a board-certified music therapist for 15 minutes. Heart rate, respiratory rate, and blood pressure were measured at baseline and at 15-minute intervals for 60 minutes after the intervention. A total of 33 patients aged 0 to 2 years completed the study: 17 were assigned to the live music group and 16 to the recorded music group. In the live music group, a significant reduction in heart rate was observed immediately after the intervention and was sustained at 60 minutes after the intervention. Although the live music group also exhibited a downward trend in blood pressure, those differences were not significant. The results of this study indicate that live music interventions may be more effective than recorded music interventions in reducing pain and anxiety in pediatric critical care patients. The advantage of live music may be due to the adaptability of the music delivery by a trained music therapist.

520 AN EVALUATION OF VIRTUAL MUSIC THERAPY TO PATIENTS ON AN ACUTE HEALTH CARE OF OLDER PEOPLE WARD DURING THE COVID-19 PANDEMIC

IntroductionMusic therapy has been shown to reduce anxiety and social isolation for elderly patients in the acute hospital setting. At Nottingham University Hospital NHS Trust a programme of live, face-to-face music has been delivered by Wellspring Music on Healthcare of Older Peoples wards since 2015. In response to COVID-19, face-to-face delivery was stopped and a virtual method was proposed. This project investigated feasibility of virtual live music delivery.MethodTwelve, two-hour music therapy sessions were delivered by Wellspring Music to 41 patients over six weeks. The validated Arts-obs tool was used by staff members facilitating the sessions to record observations of patient mood, relaxation, and distraction from the ward setting on Likert scales. Patient, ward staff, and facilitator feedback were also recorded. Qualitative and quantitative analyses were conducted by an Occupational Therapist.ResultsData from the Arts-obs tool showed that thirty-two patients had an observable improvement in mood, seven had no mood change, and two presented a slightly worsened mood. Fourteen patients were fully engaged with the music therapy, sixteen were partially engaged, and eleven were focussed on the hospital environment. Thirty-four patients were visibly more relaxed, and seven showed no change. Patient feedback ranged from gratitude and expressions of enjoyment of the session to finding it too loud. Ward staff feedback ranged from appreciation to finding the music too distracting. The Wellspring musician and staff facilitators reported occasional loss of internet connection, and patients sometimes focusing on the facilitator rather than the musician.ConclusionIt is feasible to deliver virtual music therapy to inpatients on Health Care of Older People wards. Feedback shows that this was largely acceptable to staff and patients. Improvements in mood, relaxation and distraction were found.

Online marketplace: student consumer strategies

Introduction. The Internet is becoming a part of everyday life; it is in this space that communication, purchases, and payment for various services are carried out. Young people are the most dynamic social group that has long mastered the Internet market with its advantages, namely, comparing prices, book products, and buy at discounts. Materials and methods. The quantitative data collection method is used for studying young people’s consumer strategies in the Internet market and understand the prevalence of online shopping practices. This task led to the application of the survey and the analysis of the data obtained. Comprehension of values and behavioral practices in consumer groups (generally active experts, partially active experts, passive experts) is based on a qualitative strategy in the form of semi-formalized interviews. Research results, their discussion. The factors of the popularity of the Internet market among students have been determined: activity on the Internet and social networks, attractive prices for goods, an expanded range of goods; it was found that such categories of goods as tickets, music, software, and food delivery are frequently purchased via the Internet; it was revealed that the frequency of online purchases varies from “once every six months” to “once every 1-3 months”, while a purchase does not always accompany a visit to an online store. The survey showed that the most preferable for young people are such services, Internet catalogs, the possibility of placing a preliminary order, booking goods with subsequent self-pickup. Conclusions. The study made it possible to establish a trend towards increasing online purchases among students in the Internet market as a consumer platform with new consumption practices.

One Direction: strategic challenges for twenty-first century secondary school music

ABSTRACT This paper reports on the second stage of an international study exploring the future of secondary school music education. Within a discursive context that tends to regard music education as failing to meet the needs of many students, we instigated a three-step Delphi study to capture views from educators across the English-speaking world. Interviews with leading music education researchers reported on in our first paper [McPhail, G., and J. McNeill. 2019. "One Direction: A Future for Secondary School Music Education?" Music Education Research, 21 (4): 359–370.] identified a disconnect between how music education is currently realised in secondary school and how these researchers thought it should be taught. The findings from this expert panel were used to seed a two-round Delphi study where a wider international panel explored strategic issues facing the sector. In this paper, we report on the data generated from the first of these two wider Delphi rounds. Four areas were identified where gaps exist between actual and desirable classroom music teaching: the core purpose of music education, curricula content, curricular delivery, and context. Although panellists reached consensus on many issues, they held markedly different positions on others. These findings provide an agenda for exploration and reflection by researchers and practitioners, and raise the question – is there a single desirable direction for twenty-first century secondary school music education?

Decreasing Delirium Through Music: A Randomized Pilot Trial.

Management of delirium in intensive care units is challenging because effective therapies are lacking. Music is a promising nonpharmacological intervention. To determine the feasibility and acceptability of personalized music (PM), slow-tempo music (STM), and attention control (AC) in patients receiving mechanical ventilation in an intensive care unit, and to estimate the effect of music on delirium. A randomized controlled trial was performed in an academic medical-surgical intensive care unit. After particular inclusion and exclusion criteria were applied, patients were randomized to groups listening to PM, relaxing STM, or an audiobook (AC group). Sessions lasted 1 hour and were given twice daily for up to 7 days. Patients wore noise-canceling headphones and used mp3 players to listen to their music/audiobook. Delirium and delirium severity were assessed twice daily by using the Confusion Assessment Method for the Intensive Care Unit (CAM-ICU) and the CAM-ICU-7, respectively. Of the 1589 patients screened, 117 (7.4%) were eligible. Of those, 52 (44.4%) were randomized, with a recruitment rate of 5 patients per month. Adherence was higher in the groups listening to music (80% in the PM and STM groups vs 30% in the AC group; P = .01), and 80% of patients surveyed rated the music as enjoyable. The median number (interquartile range) of delirium/coma-free days by day 7 was 2 (1-6) for PM, 3 (1-6) for STM, and 2 (0-3) for AC (P = .32). Median delirium severity was 5.5 (1-7) for PM, 3.5 (0-7) for STM, and 4 (1-6.5) for AC (P = .78). Music delivery is acceptable to patients and is feasible in intensive care units. Further research testing use of this promising intervention to reduce delirium is warranted.

The Changing Face of Academic Music Media Collections in Response to the Rise of Online Music Delivery

The evolution of online media delivery methods and the ubiquity of mobile devices has led to a shift in user preferences away from physical formats to freely accessible streaming content via sites like YouTube and Spotify and downloads from sites like iTunes. This progression has also resulted in content that libraries are precluded from owning due to prohibitive end-user license agreements. As a result, academic libraries must reexamine the role and objectives of their media collections as well as barriers to their use. This article presents the findings of a survey of North American music media selectors and provides a baseline context for the current and changing state of their collections and collecting habits. It finds that librarians are still actively collecting physical formats even though collection use is shrinking. In addition, they feel local pressures related to budgets, space, and preservation. Librarians have reservations about the costs and stability of commercial streaming products and what that means for creating unique collections. Respondents articulated numerous questions that the library profession should be asking itself and library patrons about the future of academic music media collections. Several possible approaches to these issues are put forth.

A COMPARISON OF TWO INTERVENTIONS FOR PEOPLE WITH SEVERE DEMENTIA WHO WANDER: ISSUES AND INSIGHTS

Long term care (LTC) residents with dementia who engage in risky wandering experience adverse outcomes including weight loss, fatigue, injury from falls, resident to resident violence, becoming lost and death. Limited robust evidence currently informs best practice for managing risky wandering in LTC using non-pharmacological interventions. Two different behavioral interventions for these residents were separately trialed: 1) Supervised daily 30-minute outdoor walking sessions (n=7) and 2) Daily 20 minute indoor listening to preferred music sessions (n=10). Walking sessions were initiated and completed more frequently than music sessions (80% vs. 61%). The majority (90%) of commenced walking sessions lasted the full duration while only 60% of commenced music sessions lasted the full duration. Most music sessions were terminated because the participant removed the headphones (54%) or walked away from the speaker (32%). While staff were concerned that a tailored daily walk involving care staff would be difficult to manage with the care routines of the facilities, a similar concern about music sessions was not raised. Staff suggested a dedicated room was needed to implement the music intervention to avoid interruptions. Despite high intervention fidelity and staff and family commitment to the benefits of both interventions, neither intervention has immediate strong clinical applicability potential because of staff attitudes towards tailored programming, issues with the music delivery protocol, and questions about appropriate dose. Refinement of the interventions and implementation strategies will be discussed as methods to address clinical applicability and sustainability in the LTC setting.

Playing Music for Hospitalized Patients Enhances Mood and Reduces Perceptions of Pain

For most people, music serves as a calming influence or as a pleasurable stimulus that lifts their spirits. In an attempt to both distract and cheer up hospitalized patients, we designed a brief intervention that would bring music to their hospital rooms in attempt to enhance their mood and minimize their awareness of pain. In this prospective study of adult patients on the general medicine ward at Johns Hopkins Hospital, we assessed the impact of self-selected music delivery on patients' mood and their perception of pain. Patients' mood and pain were assessed using the modified Hospital Anxiety and Depression Scale and the Verbal Numerical Rating Scale, a validated 10-point Likert pain scale. Of the 151 patients studied, their mean age was 57 years, 57% were women, and 65% were white. Ninety-seven percent of patients described listening to music regularly at home, but only 28% of patients reported that they had listened to any music since being in the hospital (P < 0.0001). The patients' modified Hospital Anxiety and Depression Scale score and pain score were decreased significantly (-4.99, standard error 0.45, P < 0.0001, and -0.72, standard error 1.51, P < 0.0001, respectively) after listening to a couple of their favorite songs. This study demonstrates that bringing music to hospitalized patients and encouraging them to listen to their favorite songs are genuinely appreciated. If this intervention can enhance moods and reduce pain for patients in the hospital, then directing resources to make it sustainable may be justified.

No Effect of Music on Anxiety and Pain During Transrectal Prostate Biopsies: A Randomized Trial

To investigate the effect of ambient music on anxiety and pain in men undergoing prostate biopsies. Between September 2015 and June 2016, men undergoing office transrectal prostate biopsy at our institution were randomly assigned to music (n = 85) or control (n = 97) groups. We examined clinical characteristics, pathologic variables, and baseline anxiety using the Trait Instrument of State-Trait Anxiety Inventory. Primary outcomes included anxiety assessed by State Instrument of STAI (STAI-S) and pain using a visual analog scale. There were no significant differences in baseline characteristics between the music and control groups, including median age, prostate-specific antigen, use of magnetic resonance imaging-guided biopsies, or Trait Instrument of State-Trait Anxiety Inventory. The majority (93%) of patients indicated they desired music in their prebiopsy survey. There were no significant differences in STAI-S (33.7 ± 8.9 vs 34.4 ± 9.9, P = .6), pain score (2.3 ± 2.1 vs 2.0 ± 2.1, P = .3), or vital signs between the music and control groups, respectively. There were also no differences in STAI-S, visual analog scale, or vital signs between groups when stratified by age, prostate-specific antigen, or number of previous biopsies. Men who received music were more likely to request music for future prostate biopsy, compared to men who did not (93% vs 83%, P = .07, respectively). This randomized study showed no difference in anxiety or pain scores for patients who had ambient music during transrectal prostate biopsy. Future studies are needed to discern the influence of details including method of music delivery, music type, and utilization of adjunct relaxation tools.

Roadmap to Wellness: Exploring Live Customized Music at the Bedside for Hospitalized Children.

Randomized trials on clinical outcomes of music are conflicting, with few performed in the postoperative pediatric population. We aimed to determine if there was a benefit of a live, customized bedside music delivery program (MyMusicRx®) for children hospitalized after pediatric surgery. We present our perspective on the utility of music medicine, review others' work in this area, and discuss future directions. All admitted postsurgical patients aged between 5 and 18 years were considered. One live, customized music session was delivered by a MyMusicRx® music specialist to intervention participants, and compared with matched controls who did not receive music intervention. Pain, cumulative analgesia dosage, and vital signs within 12 h after unit arrival were compared between groups. Thirty-two participants (16 intervention, 16 controls; 8:8 females:males per group) were enrolled. No differences in age, surgery length, or duration of music intervention were found between groups. No differences in pain scores (p = 0.73), heart rate (p = 0.82), respirations (p = 84), narcotic (p = 0.92) or non-narcotic medication usage (p = 0.88, 0.86, 0.95; ibuprofen, acetaminophen, and ketorolac, respectively), or time to first narcotic dose (p = 0.64) were found. A single music intervention in the acute postoperative period did not appear to be adequate to augment traditional methods of pain and hemodynamic control. Prior studies have similar outcome measures but conflicting results. We did not evaluate psychological well-being, patient engagement, or family perception in this pilot study. Future directions include developing and validating a tool that explores the observable impact of music medicine on children's emotions and behaviors.