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Article
Publication date: 30 November 2021

Irini Verbist, Dale Huey and Hazel Bennett

Given the considerable variation in treatment effectiveness observed across Improving Access to Psychological Therapy (IAPT) services, the purpose of this study is to explore…

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Abstract

Purpose

Given the considerable variation in treatment effectiveness observed across Improving Access to Psychological Therapy (IAPT) services, the purpose of this study is to explore client- and service-related variables that predict successful treatment outcomes and clients’ dropout. Clinician-rated clients’ motivation to change was also explored as a potential predictor for both outcome variables.

Design/methodology/approach

A convenience sample of 1,135 (F = 752; Mage = 39.4) was collected from three IAPT services in the North West of England. The study adopts a quasi-experimental, observational design. The analysis involves the description of patients’ socio-demographic and clinical characteristics and the development of three outcome prediction models, using hierarchical logistic regression.

Findings

After adjusting for confounders, employment status and motivation to change as rated by clinicians were predictive of both recovery and reliable improvement. The higher number of IAPT re-referrals was negatively associated with recovery and positively with dropouts. Clients who indicated low motivation to change and received low intensity treatment at their last session presented a higher likelihood to dropout.

Research limitations/implications

Given that the evaluation of clients’ motivation to change was solely reliant on clinical judgement, as no validated measure was used, further robust research is recommended to draw sensible conclusions.

Originality/value

This is the first study evaluating clinician-rated motivation to change as a significant predictor of treatment outcomes and dropouts within the IAPT setting. Further research implications are discussed.

Details

Mental Health Review Journal, vol. 27 no. 1
Type: Research Article
ISSN: 1361-9322

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Book part
Publication date: 17 August 2022

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Embodying the Music and Death Nexus
Type: Book
ISBN: 978-1-80117-767-2

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Publication date: 17 August 2022

Gary Levy

Ich habe genug (I have enough) BWV 82 is one of the best known, most regularly performed and consistently recorded of J.S. Bach's approximately 200 extant sacred cantatas.1 In the…

Abstract

Ich habe genug (I have enough) BWV 82 is one of the best known, most regularly performed and consistently recorded of J.S. Bach's approximately 200 extant sacred cantatas.1 In the text, by an anonymous author, the narrator repeatedly expresses their readiness to die, in faith that they will be received by their saviour in eternal life. The whole cantata expresses a fearless ‘longing for death’ (Schweitzer, 1911/1966, p. 114), coupled with a serene contentment. Bach's setting of this text for religious purposes not only supports the sentiments expressed by the narrator but colours, illuminates, vitalises and elevates it in ways that startle the ear, quicken the spirit and stir the imagination. In the third and final aria of the cantata, Bach employs an almost-jaunty dance rhythm to accompany the narrator's anticipatory delight in their own death, liberated from worldly and bodily suffering. After identifying some of the ingenious ways Bach animates the text, I offer some speculations and elaborations as to how and why this work has had such an enduring presence in the Western musical canon, for believers and non-believers alike.

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Embodying the Music and Death Nexus
Type: Book
ISBN: 978-1-80117-767-2

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Book part
Publication date: 17 August 2022

Amanda DiGioia

This brief chapter explores my experiences with music and death throughout my cancer treatment. Though I constantly confronted my mortality throughout my cancer treatment, music…

Abstract

This brief chapter explores my experiences with music and death throughout my cancer treatment. Though I constantly confronted my mortality throughout my cancer treatment, music also helped to distract me from unpleasant, lengthy or boring treatments, as well as helping me to process my feelings about my own mortality. It thus served two distinct purposes, both focusing my mind on death and pain and distancing me from it.

Details

Embodying the Music and Death Nexus
Type: Book
ISBN: 978-1-80117-767-2

Keywords

Available. Content available
Book part
Publication date: 17 August 2022

Free Access. Free Access

Abstract

Details

Embodying the Music and Death Nexus
Type: Book
ISBN: 978-1-80117-767-2

Available. Content available
Book part
Publication date: 17 August 2022

Free Access. Free Access

Abstract

Details

Embodying the Music and Death Nexus
Type: Book
ISBN: 978-1-80117-767-2

Available. Content available
Book part
Publication date: 17 August 2022

Free Access. Free Access

Abstract

Details

Embodying the Music and Death Nexus
Type: Book
ISBN: 978-1-80117-767-2

Available. Content available
Book part
Publication date: 17 August 2022

Free Access. Free Access

Abstract

Details

Embodying the Music and Death Nexus
Type: Book
ISBN: 978-1-80117-767-2

Available. Content available
Book part
Publication date: 17 August 2022

Free Access. Free Access

Abstract

Details

Embodying the Music and Death Nexus
Type: Book
ISBN: 978-1-80117-767-2

Access Restricted. View access options
Book part
Publication date: 17 August 2022

Marie Josephine Bennett

Pre-existing music has been used to underscore the moving image since the days of ‘silent’ film, and this practice is still commonplace today in Hollywood and beyond. Such music…

Abstract

Pre-existing music has been used to underscore the moving image since the days of ‘silent’ film, and this practice is still commonplace today in Hollywood and beyond. Such music may be ‘classical’ or ‘popular’ and can feature within the narrative of a movie diegetically, non-diegetically, or both. With regard to art music in film, Wolfgang Amadeus Mozart is often the composer of choice, given the popularity and familiarity of many of his compositions. However, his music is employed cinematically in a range of different situations and for a variety of purposes.

In this chapter, I focus on ways in which compositions by Mozart are used to manifest the music and death nexus present in the narrative of three films that were released in different decades. ‘Là ci darem la mano’ from Don Giovanni (1787) features in the first film I analyse, The Picture of Dorian Gray (Albert Lewin, 1945), with the aria being linked to the symbolic death of the moral compass of the protagonist. I then consider the inclusion of music from one of Mozart's symphonies in the storyline of the film Vertigo (Alfred Hitchcock, 1958), the narrative of which includes the themes of deception and murder. The final film I examine is I am David (Paul Feig, 2003), in which one of the characters sacrifices his life to save that of his friend. Each example encapsulates death as embodied affect, with Mozart's music specifically impacting upon the emotions of the protagonists.

Details

Embodying the Music and Death Nexus
Type: Book
ISBN: 978-1-80117-767-2

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