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17 results

  • A systematic review of peer support interventions for student mental health and well-being in higher education

  • Julia Pointon-Haas, Luqmaan Waqar, Rebecca Upsher, Juliet Foster, Nicola Byrom, Jennifer Oates
  • Journal:
    BJPsych Open / Volume 10 / Issue 1 / January 2024
    Published online by Cambridge University Press:
    15 December 2023, e12
    • Article
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      • Open access
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  • Background

    Higher education institutions (HEIs) are seeking effective ways to address the rising demand for student mental health services. Peer support is widely considered a viable option to increase service capacity; however, there are no agreed definitions of peer support, making it difficult to establish its impact on student mental health and well-being.

    Aims

    This systematic review aims to better understand and evaluate peer support in HEIs.

    Method

    Five databases, OpenGrey and Grey Matters were searched in May 2021. Included studies were quantitative, longitudinal (with and without a control) or cross-sectional with a control. The vote-counting method was used for synthesis. The risk of bias was assessed with the National Institutes of Health Quality Assessment Tool.

    Results

    Three types of peer support were represented in 28 papers: peer-led support groups, peer mentoring and peer learning. Peer learning and peer mentoring had more positive, significant results reported for the outcomes of anxiety and stress. Peer-led support groups were the only type targeting students with mental health difficulties.

    Conclusions

    The heterogeneity of measures and outcomes prevents firm conclusions on the effectiveness of peer support for mental health and well-being. Most studies were rated ‘poor’ or ‘fair’ in their risk of bias. There is not a solid evidence base for the effectiveness of peer support. Nonetheless, HEIs can use the terminology developed in this review for shared discussions that guide more robust research and evaluation of peer support as an intervention.

  • 2 - Scotland, the ‘Celtic North’, and the Sea: Issues of Identity in Bantock’s Hebridean Symphony (1915)

  • Edited by Eric Saylor, Associate Professor, musicology (Drake University), Christopher M. Scheer, Associate Professor, musicology (Utah State University)
  • With contributions by Byron Adams , Jenny Doctor , James Brooks Kuykendall , Charles Edward McGuire , Alyson McLamore , Louis Niebur , Jennifer Oates , Aidan Thomson , Justin Vickers , Amanda Eubanks Winkler and Frances Wilkins
  • Book:
    The Sea in the British Musical Imagination
    Published by:
    Boydell & Brewer
    Published online:
    12 June 2021
    Print publication:
    17 December 2015, pp 31-50

  • Summary

    SINCE THE NINETEENTH CENTURY, images or representations of stormy seas have been used to depict Scotland in music. Mendelssohn's Hebrides Overture is perhaps the best-known example, but Bantock's Hebridean Symphony succeeds where Mendelssohn fails. While the opening of the Hebrides Overture is wild, alluring, and sublime, this evocation of the untamable is not sustained. The wonder of the moment passes with the rest of the overture reverting to sonata form and the working out of musical problems. This inability to move beyond form and musical logic results in a failure to sustain the evocation of an uncontrollable ocean. Mendelssohn's uninhibited opening is dampened by what follows. The briny deep of Bantock's Hebridean Symphony remains untamed; the dangerous, unpredictable waters obliterate tonalities and any vestige of formal structure. While Mendelssohn's overture serves as a musical travelogue documenting the composer's experiences of Scotland, Bantock's work asserts its Celtic connections through the use of Hebridean songs from Marjory Kennedy-Fraser's then popular folk-song collections and a quote in the score:

    From the lone shieling of the misty island

    Mountains divide us and a waste of seas –

    Yet still the blood is strong, the heart is Highland,

    And we in dreams behold the Hebrides.

    Bantock's symphony is one of a number of sea-inspired works by British composers from around the turn of the century through World War I. Leading up to the war, Britain's maritime dominance began to be questioned. Reflecting the dualities of the ocean – silent and murmuring, calm and stormy, alive and observing yet passive – musical pictures of the sea encompassed diverse approaches, all of which provided an opportunity to create a modern British musical style. While Stanford's Songs of the Sea (1904) and Songs of the Fleet (1910) celebrate English naval power and political control, Vaughan Williams's A Sea Symphony (1903–9) and Delius's Sea Drift (1903–4) use the sea ‘as the symbol of man's spiritual odyssey into the unknown’.

The Sea in the British Musical Imagination
  • Edited by Eric Saylor, Christopher M. Scheer
  • With contributions by Byron Adams , Jenny Doctor , James Brooks Kuykendall , Charles Edward McGuire , Alyson McLamore , Louis Niebur , Jennifer Oates , Aidan Thomson , Justin Vickers , Amanda Eubanks Winkler and Frances Wilkins
  • Published by:
    Boydell & Brewer
    Published online:
    12 June 2021
    Print publication:
    17 December 2015
  • For centuries, the sea and those who sail upon it have inspired the imaginations of British musicians. Generations of British artists have viewed the ocean as a metaphor for the mutable human condition - by turns calm and reflective, tempestuous and destructive - and have been influenced as much by its physical presence as by its musical potential. But just as geographical perspectives and attitudes on seascapes have evolved over time, so too have cultural assumptions about their meaning and significance. Changes in how Britons have used the sea to travel, communicate, work, play, and go to war have all irresistibly shaped the way that maritime imagery has been conceived, represented, and disseminated in British music.
    By exploring the sea's significance within the complex world of British music, this book reveals a network of largely unexamined cultural tropes unique to this island nation. The essays are organised around three main themes: the Sea as Landscape, the Sea as Profession, and the Sea as Metaphor, covering an array of topics drawn from the seventeenth century to the twenty-first. Featuring studies of pieces by the likes of Purcell, Arne, Sullivan, Vaughan Williams, and Davies, as well as examinations of cultural touchstones such as the BBC, the Scottish fishing industry, and the Aldeburgh Festival, The Sea in the British Musical Imagination will be of interest to musicologists as well as scholars in history, British studies, cultural studies, and English literature.

    ERIC SAYLOR is Associate Professor of Musicology at Drake University.

    CHRISTOPHER M. SCHEER is Assistant Professor of Musicology at Utah State University.

    CONTRIBUTORS: Byron Adams, Jenny Doctor, Amanda Eubanks Winkler, James Brooks Kuykendall, Charles Edward McGuire, Alyson McLamore, Louis Niebur, Jennifer Oates, Eric Saylor, Christopher M. Scheer, Aidan J. Thomson, Justin Vickers, Frances Wilkins

  • Fine needle aspiration cytology in the management ENT of patients

  • Lesley A. Smallman, Jennifer A. Young, J. Oates, D. W. Proops, A. P. Johnson
  • Journal:
    The Journal of Laryngology & Otology / Volume 102 / Issue 10 / October 1988
    Published online by Cambridge University Press:
    29 June 2007, pp. 909-913
    Print publication:
    October 1988

  • Aspirates were obtained from 142 masses in 120 patients who presented with palpable swellings in the head and neck region. 120 specimens (84.51 per cent) were adequate for diagnostic purposes and the remaining 22 (15.49 per cent) were unsatisfactory. Final diagnosis was based on resection histology in 87 cases and close clinical follow-up in 55 patients. The overall sensitivity and specificity including unsatisfactory aspirates was 81.37 per cent and 93 per cent respectively (if the technically inadequate specimens were deleted 98.81 per cent and 94.44 per cent). In comparison with the final diagnosis typing of malignant tumours was possible in 58.33 per cent. The correct diagnosis was made in 63.89 per cent of benign lesions.