Rich Intercultural Music Engagement Enhances Cultural Understanding: The Impact of Learning a Musical Instrument Outside of One's Lived Experience

Rich intercultural music engagement (RIME) is an embodied form of engagement whereby individuals immerse themselves in foreign musical practice, for example, by learning a traditional instrument from that culture. The present investigation evaluated whether RIME with Chinese or Middle Eastern music can nurture intercultural understanding. White Australian participants were randomly assigned to one of two plucked-string groups: Chinese pipa (n = 29) or Middle Eastern oud (n = 29). Before and after the RIME intervention, participants completed measures of ethnocultural empathy, tolerance, social connectedness, explicit and implicit attitudes towards ethnocultural groups, and open-ended questions about their experience. Following RIME, White Australian participants reported a significant increase in ethnocultural empathy, tolerance, feelings of social connection, and improved explicit and implicit attitudes towards Chinese and Middle Eastern people. However, these benefits differed between groups. Participants who learned Chinese pipa reported reduced bias and increased social connectedness towards Chinese people, but not towards Middle Eastern people. Conversely, participants who learned Middle Eastern oud reported a significant increase in social connectedness towards Middle Eastern people, but not towards Chinese people. This is the first experimental evidence that participatory RIME is an effective tool for understanding a culture other than one's own, with the added potential to reduce cultural bias.

How Can Music Engagement Address Loneliness? A Qualitative Study and Thematic Framework in the Context of Australia's COVID-19 Pandemic Lockdowns

Social isolation and loneliness are serious public health concerns. Music engagement can strengthen social connections and reduce loneliness in some contexts, although how this occurs is not well understood; research suggests that music's capacity to manipulate perceptions of time and space is relevant. This study adopted a qualitative perspective to examine how music engagement shaped the experiences of residents of Victoria, Australia, during conditions of restricted social contact during the lockdowns of 2020. Semi-structured interviews explored participants' lived musical experiences while giving focus to perceptions of time and space (e.g., how music helped restructure home and workspaces in response to lockdown regulations, or punctuate time where older routines were no longer viable). Interpretative Phenomenological Analysis of the interview transcripts identified five themes representing the key findings: (1) a super-ordinate theme of perceived control, which comprises four themes: (2) dynamic connection; (3) identity; (4) mobility; (5) presence. Each theme describes one generalised aspect of the way music engagement shaped participants' perceptions of time and space during lockdown and supported their processes of adaptation to and coping with increased social isolation. The authors argue that these findings may inform the way music can be used to address loneliness in everyday life.

Creativity in lockdown: Understanding how music and the arts supported mental health during the COVID-19 pandemic by age group

Recent research has indicated that many people around the world turned to artistic creative activities (ACAs) to support their mental health during COVID-19 lockdowns. However, studies have also shown that the negative psychosocial impacts of the pandemic have disproportionately affected young people, suggesting that the use of ACAs to support mental health in lockdown may have varied across age groups. This study investigated how Australians in four different age groups (18–24, 25–34, 35–54, and 55+) engaged in ACAs to support their mental health during the 2020 pandemic lockdowns. Participants (N = 653) recruited from the general public completed an online survey between May and October 2020, in which they reported which ACAs they had undertaken during the pandemic using an established list. Participants subsequently ranked undertaken ACAs in terms of effectiveness at making them “feel better,” and those who had engaged in musical ACAs also completed the Musical Engagement Questionnaire (MusEQ). Additionally, ratings of anxiety (GAD7) and depression (PHQ9) symptoms were obtained and examined for potential variations across four diverse variables: age, exercise, gender and state/territory of residence. ACA rankings showed that younger participants overwhelmingly rated musical activities as most effective, while, with the exception of singing, those aged 55+ rated non-musical activities as being most effective. These differences were further supported by ratings for all six MusEQ subscales, with responses strongly indicating that the youngest participants (aged 18–24) used music in significantly different ways during the pandemic than participants in all other age groups. Specifically, these youngest participants were more likely to integrate music into daily life, use music for emotion regulation, respond to music in embodied ways, and use music to perform a social identity. In line with prior research, further analyses indicated that symptoms of anxiety and depression were lessened for older participants, as well for those who reported exercising more during the lockdowns. These findings provide insight into how ACAs can support mental health during a pandemic crisis for specific age groups, which may inform future policy directions, and suggestions for how this can be done are provided.

The Role of Artistic Creative Activities in Navigating the COVID-19 Pandemic in Australia

During the COVID-19 pandemic some Australians turned to artistic creative activities (ACAs) as a way of managing their own mental health and well-being. This study examined the role of ACAs in regulating emotion and supporting mental health and well-being during the COVID-19 pandemic, and also attempted to identify at-risk populations. We proposed that (1) participants would use ACAs as avoidance-based emotion regulation strategies; and (2) music engagement would be used for emotion regulation. Australian participants (N = 653) recruited from the general public completed an online survey, which included scales targeting anxiety (GAD7 scale), depression (PHQ9 scale) and loneliness (two UCLA Loneliness Scales, referring to "Before" and "Since" COVID-19). Participants reported which ACAs they had undertaken and ceased during the pandemic using an established list and ranked their undertaken ACAs in terms of effectiveness at making them "feel better." For their top-ranked ACA, participants then completed the Emotion Regulation Scale for Artistic Creative Activities (ERS-ACA), and if participants had undertaken any musical ACAs, also the Musical Engagement Questionnaire (MusEQ). The results supported both hypotheses. ANOVAs indicated that participants ranked significantly higher on the "avoidance" ERS-ACA subscale than the other subscales, and that participants ranked significantly higher on the emotion regulation and musical preference MusEQ subscales than the other subscales. Additionally, while ACAs such as "Watching films or TV shows" and "Cookery or baking" were common, they ranked poorly as effective methods of emotion regulation, whereas "Listening to music" was the second-most frequently undertaken ACA and also the most effective. "Singing" and "Dancing" were among the most ceased ACAs but also ranked among the most effective for emotion regulation, suggesting that support for developing pandemic-safe approaches to these ACAs may provide well-being benefits in future crises. Additionally, correlation analyses showed that younger participants, those who took less exercise during the pandemic, and those with the highest musical engagement reported the poorest well-being. We conclude that ACAs provided an important resource for supporting mental health and well-being during the COVID-19 pandemic in Australia and could potentially support mental health and well-being in future crises.

"Music Has No Borders": An Exploratory Study of Audience Engagement With YouTube Music Broadcasts During COVID-19 Lockdown, 2020

This exploratory study engages with eight case studies of music performances broadcast online to investigate the role of music in facilitating social cohesion, intercultural understanding and community resilience during a time of social distancing and concomitant heightened racial tensions. Using an online ethnographic approach and thematic analysis of video comments, the nature of audience engagement with music performances broadcast via YouTube during COVID-19 lockdown of 2020 is explored through the lens of ritual engagement with media events and models of social capital. The eight case studies featured virtual choirs, orchestras and music collaborations of various genres, including classical, pop and fusion styles drawing from European, Asia Minor, South African, West African, North African, Arabic, South Asian, and East Asian cultural origins. Five overarching themes resulted from thematic analysis of video comments, including Interaction, Unity, Resilience, Identity, and Emotion. The paper contributes important theorisation that ritual engagement and social learning fosters intercultural understanding through engaging with music both cognitively and emotionally, which can in turn shape both individual and collective identity. Online platforms provide scope for both bonding and bridging opportunities. Community resilience is supported through the sharing of knowledge, sustaining music practice during social distancing, as well as emotional support shared among audience participants, with potential wellbeing outcomes.

The rise of affectivism

Research over the past decades has demonstrated the explanatory power of emotions, feelings, motivations, moods, and other affective processes when trying to understand and predict how we think and behave. In this consensus article, we ask: has the increasingly recognized impact of affective phenomena ushered in a new era, the era of affectivism?

A Qualitative Exploration of Aged-Care Residents' Everyday Music Listening Practices and How These May Support Psychosocial Well-Being

Strategies to support the psychosocial well-being of older adults living in aged-care are needed; and evidence points toward music listening as an effective, non-pharmacological tool with many benefits to quality of life and well-being. Yet, the everyday listening practices (and their associated specific psychosocial benefits) of older adults living in residential aged-care remain under-researched. The current study explored older adults' experiences of music listening in their daily lives while living in residential aged-care and considered how music listening might support their well-being. Specifically, what might go into autonomous listening activities? 32 Australian residents (aged 73-98) living in two Australian care facilities participated in semi-structured interviews. The results of a qualitative thematic analysis revealed three themes pertaining to "previous music experiences and interest," "current music listening," and "barriers to listening." While an interest in and access to music did not necessarily result in everyday listening practices, of those participants who did listen to music, perceived benefits included outcomes such as entertainment, enjoyment, relaxation, and mood regulation. Drawing on Ruud's notion of music as a "cultural immunogen" supporting well-being and Self-Determination Theory, theoretical implications of the findings are addressed, relating to how to create and support music activities in aged-care facilities so that they are engaging, meaningful, and promote emotional regulation, community, and well-being.

Using Self-Determination Theory to Examine Musical Participation and Well-Being

A recent surge of research has begun to examine music participation and well-being; however, a particular challenge with this work concerns theorizing around the associated well-being benefits of musical participation. Thus, the current research used Self-Determination Theory to consider the potential associations between basic psychological needs (competence, relatedness, and autonomy), self-determined autonomous motivation, and the perceived benefits to well-being controlling for demographic variables and the musical activity parameters. A sample of 192 Australian residents (17-85, M age = 36.95), who were currently participating in a musical activity at the time, completed an online questionnaire. Results indicated that females were more likely to perceive benefits to their well-being; and that how important an individual considers music in their life was positively related to perceived well-being. Importantly, the analyses also revealed that the basic needs of competency and relatedness were related to overall perceived well-being as well as specifically social, cognitive, and esteem dimensions of well-being. Autonomous motivation demonstrated significant associations with both an overall well-being score as well as four of five specific well-being subscales measured. Collectively, the findings indicate that Self-Determination Theory offers a useful theoretical framework to understanding the relationship between musical participation and well-being. Further, the pattern of findings reiterates the positive associations between musical participation and one's psychosocial well-being, with broad implications for people involved in the facilitation of musical activity.

Effective Educational Strategies to Promote Life-Long Musical Investment: Perceptions of Educators

While research has broadly considered the wide-ranging intellectual, social, personal, and physical benefits of active musical participation across the lifespan, there is little research that explores how music educators work to promote participant investment inside school and beyond. The present research, therefore, aimed to investigate the practices employed by leading music educators within a range of cultural and pedagogical contexts that facilitate investment toward life-long engagement in music. Interviews with North American, European, and Australian music educators with both practitioner and research expertise from within school as well as higher education institutions were undertaken to gather reflections on participants’ own practices and beliefs. Content analysis of the interview transcripts revealed deep knowledge and skills relating to teaching music, education philosophy and pedagogy, and strong recognition of the support of peers, supervisors, institution/school, and local community. It was clear that interviewees were deeply influenced by local, national, and cultural trends. Further, the advice they offered for new/beginning music educators was to think beyond the structure of their own music education and to explore culturally diverse educational experiences for students. Educational approaches that fostered co-production were favored, thus guiding students in their pursuits in learner-directed environments. While the beliefs and practices described are not “new” – echoing well-established educational philosophies – all interviewees argue for a shift from the prevailing pedagogical practice based on expertise training to the promotion cultural connectedness and sharing in and through musical experience. These findings are discussed in terms of Self-Determination Theory, to provide a framework for how music educators can facilitate long-term musical investment through the development of autonomous engagement to generate personal meaning and value in music, which can translate to deeper, longer musical investment. Exploring these pedagogical practices and beliefs in terms of Self-Determination Theory is a significant addition to the literature, enabling the consideration of the type of motivation required to stimulate and develop long-term interest in music.

The PERMA well-being model and music facilitation practice: Preliminary documentation for well-being through music provision in Australian schools

The aim of this study was to consider how we can invest in music-making to promote well-being in school contexts. Web-based data collection was conducted where researchers identified 17 case studies that describe successful music programs in schools in Australia. The researchers aligned content from these case studies into the five categories of the PERMA well-being model: Positive emotions, Engagement, Relationships, Meaning, and Accomplishment, in order to understand how each well-being element was realised through the music programs. The results indicate that the element of the PERMA well-being model that relates to relationships was described most often. Collaboration and partnership between students, teachers, and staff in schools, and local people in the community such as parents, local entrepreneurs, and musicians were repeatedly identified as a highly significant contributing factor in the success of the music program. The school leaders’ roles in providing opportunities for students to experience musical participation and related activities (engagement) and valuing these experiences (meaning) were also crucial in the facilitation of the music programs. The findings of this study indicate that tailored music and relationship-centred music programs in schools not only increase skills and abilities of the students, but also improve the psychosocial well-being of the students and the community.

An Expressive Bodily Movement Repertoire for Marimba Performance, Revealed through Observers' Laban Effort-Shape Analyses, and Allied Musical Features: Two Case Studies

Musicians' expressive bodily movements can influence observers' perception of performance. Furthermore, individual differences in observers' music and motor expertise can shape how they perceive and respond to music performance. However, few studies have investigated the bodily movements that different observers of music performance perceive as expressive, in order to understand how they might relate to the music being produced, and the particular instrument type. In this paper, we focus on marimba performance through two case studies—one solo and one collaborative context. This study aims to investigate the existence of a core repertoire of marimba performance expressive bodily movements, identify key music-related features associated with the core repertoire, and explore how observers' perception of expressive bodily movements might vary according to individual differences in their music and motor expertise. Of the six professional musicians who observed and analyzed the marimba performances, three were percussionists and experienced marimba players. Following training, observers implemented the Laban effort-shape movement analysis system to analyze marimba players' bodily movements that they perceived as expressive in audio-visual recordings of performance. Observations that were agreed by all participants as being the same type of action at the same location in the performance recording were examined in each case study, then across the two studies. A small repertoire of bodily movements emerged that the observers perceived as being expressive. Movements were primarily allied to elements of the music structure, technique, and expressive interpretation, however, these elements appeared to be interactive. A type of body sway movement and more localized sound generating actions were perceived as expressive. These movements co-occurred and also appeared separately. Individual participant data revealed slightly more variety in the types and locations of actions observed, with judges revealing preferences for observing particular types of expressive bodily movements. The particular expressive bodily movements that are produced and perceived in marimba performance appear to be shaped by music-related and sound generating features, musical context, and observer music and motor expertise. With an understanding of bodily movements that are generated and perceived as expressive, embodied music performance training programs might be developed to enhance expressive performer-audience communication.

Music Undergraduates' Usefulness and Importance Expectations: The Bologna Process from an Australian University Perspective

The Bologna Process model of higher education has been introduced into some Australian universities since 2008. This model promoted university study through a liberal arts philosophy that advanced a worldview approach at the undergraduate level. The model generalized the student experience and eliminated undergraduate specialization. An interesting situation for music undergraduate study thus arose. Expertise and expert performance research has argued an opposing educational approach, namely: Extensive long-term commitment through focused practical engagement and specialized tuition as prerequisites to achieving musical mastery, especially in performance. Motivation research has shown that the majority of this specialized development in pre-university years would be accessed and reinforced predominantly through private music tuition. Drawing on this contextual literature, commencing university music undergraduates would have expectations of their prospective study founded from two historical influences. The first: How undergraduates had accessed pre-university music tuition. The second: How and in what ways undergraduates' pre-university musical activities were experienced and reinforced. Using usefulness and importance measures, the study observed the expectations of students about to commence music undergraduate studies at three representative Australian university music schools. One of these universities operated the Bologna styled model. No other known Australian study has investigated this implementation for any effects upon music undergraduate expectations. How much commencing music undergraduates would draw on their pre-university music instruction and experiences to predict their usefulness and importance expectations formed the basis for this investigation. Strong relationships between usefulness and importance were found across all units of study. Despite strong correlations across all units of study between usefulness and importance, there was a reluctance to be outwardly positive toward units of study that were not practical and performance-related, such as Music History. The educational model did not appear to affect music undergraduate expectations.

Singing in Therapy: Monitoring Disease Process in Chronic Degenerative Illness

Music therapy in the treatment of chronic neurological illness typically focuses on the use of music to address the emotional and psychosocial impact of loss and change stemming from pathology. A range of clinical techniques is described in anecdotal accounts spanning instrumental improvisation, song composition and singing. However, there is scant reference to the musical and emotional experience of singing as a clinical technique with individuals living with chronic degenerative illness. Drawing on the results of an empirical investigation into the effects of music therapy with clients with chronic neurological illness, this paper reveals how singing may be used by clients to monitor their physical disease process.

Grounded theory research with this population has revealed that music therapy elicits processes in which individuals monitor the physical changes caused by their disease process (Magee and Davidson 2004). Based upon these research findings, this paper illustrates that individuals living with illnesses which cause loss of voice function may find the act of singing a highly physical experience. As such, singing may be used to monitor subtle changes which have occurred due to the disease process. Individuals living with degenerative illness may use singing within therapy as a way to defy their illness process and as an expression of life's breath running through the body. Singing and voice work within clinical music therapy is therefore not only a vehicle for emotional expression, but also an invaluable tool in gaining an understanding of the client's experience, offering a boundaried environment for exploration of loss and degeneration. Finally, the paper provides a theoretical framework for the emotional experience of singing songs of personal meaning in therapy.

Motivation to study music in Australian schools: The impact of music learning, gender, and socio-economic status

This study extends an eight-country mapping exercise (McPherson & O’Neill, 2010; see Research Studies in Music Education issues 2010–2011) to include students’ motivation to study music within the Australian context. It sought to determine whether music learners (students learning an instrument or voice), might be more motivated to study academic subjects at school, and whether gender and socio-economic status (SES) affected student motivation to learn music at school. A total of 2,727 students from grades 5 to 12 completed a questionnaire based on Eccles and Wigfield’s expectancy-value framework. Data collected included: ratings of competence beliefs, interest, importance, usefulness and difficulty for music, English, maths, and science; indications of whether the students were currently learning a musical instrument or voice (music learners); and whether they would like to if given the opportunity. There was an overall significant decline in competence beliefs, interest, importance, and usefulness across the school years, in contrast with increased task difficulty ratings across the school years. Music learners reported significantly higher competence beliefs, interest, importance, usefulness, and less task difficulty than non-music learners. This advantage applied across all school grades for music, competence beliefs for English in upper primary and lower secondary school grades, and for maths in lower secondary grades. Although females reported music as more important and useful than males, their competence beliefs and task difficulty ratings were equivalent. Music was considered slightly less interesting for females than for males. The value of music as a subject declined significantly for upper SES students from upper primary to lower secondary schools. The greatest number of participants (40.8%) who expressed a desire to learn a musical instrument came from the lower SES category in upper primary school. This is an important result in the Australian context, indicating that this may be a positive time to recruit learners. This study provides new information regarding the relationship between motivation and desire to learn a musical instrument across school grades, gender, and socio-economic factors.

Action and familiarity effects on self and other expert musicians' Laban effort-shape analyses of expressive bodily behaviors in instrumental music performance: a case study approach

Self-reflective performance review and expert evaluation are features of Western music performance practice. While music is usually the focus, visual information provided by performing musicians’ expressive bodily behaviors communicates expressiveness to musically trained and untrained observers. Yet, within a seemingly homogenous group, such as one of musically trained individuals, diversity of experience exists. Individual differences potentially affect perception of the subtleties of expressive performance, and performers’ effective communication of their expressive intentions. This study aimed to compare self- and other expert musicians’ perception of expressive bodily behaviors observed in marimba performance. We hypothesized that analyses of expressive bodily behaviors differ between expert musicians according to their specialist motor expertise and familiarity with the music. Two professional percussionists and experienced marimba players, and one professional classical singer took part in the study. Participants independently conducted Laban effort-shape analysis – proposing that intentions manifest in bodily activity are understood through shared embodied processes – of a marimbists’ expressive bodily behaviors in an audio-visual performance recording. For one percussionist, this was a self-reflective analysis. The work was unfamiliar to the other percussionist and singer. Perception of the performer’s expressive bodily behaviors appeared to differ according to participants’ individual instrumental or vocal motor expertise, and familiarity with the music. Furthermore, individual type of motor experience appeared to direct participants’ attention in approaching the analyses. Findings support forward and inverse perception–action models, and embodied cognitive theory. Implications offer scientific rigor and artistic interest for how performance practitioners can reflectively analyze performance to improve expressive communication.

Musical taste, employment, education, and global region

Sociologists have argued that musical taste should vary between social groups, but have not considered whether the effect extends beyond taste into uses of music and also emotional reactions to music. Moreover, previous research has ignored the culture in which participants are located. The present research employed a large sample from five post-industrial global regions and showed that musical taste differed between regions but not according to education and employment; and that there were three-way interactions between education, employment, and region in the uses to which participants put music and also their typical emotional reactions. In addition to providing partial support for existing sociological theory, the findings highlight the potential of culture as a variable in future quantitative research on taste.

The role of music therapy in an interdisciplinary approach to address functional communication in complex neuro-communication disorders: A case report

PURPOSE

This paper presents a case report of collaborative work between speech and language therapy (SLT) and music therapy (MT) in the case of an individual presenting with complex communication difficulties and lability caused by pseudo-Parkinsonian vascular disease.

DESIGN

MT intervention was used to investigate whether participation could be enabled in a client presenting with complex problems as well as facilitate change in communication parameters which remained unresponsive to conventional SLT intervention. A single case design measured communication and well-being parameters using pre-, during and post-intervention measures. In addition, analysis of the client's musical responses was undertaken to examine changes in vocal functioning which are involved in communication.

RESULTS

Analysis of the client's performance during MT intervention revealed improvements in prosody and phonation, with positive reports of participation, reduced incidence of lability and improvements in measures of well-being.

CONCLUSIONS

The results indicate the value of such collaborative working in addition to making recommendations for the modification of existing treatment protocols. The findings highlight that fatigue is a major consideration when working with people with severe and complex clinical presentations.

The effects of a third generation combined oral contraceptive pill on the classical singing voice

The success of professional operatic singers depends upon the quality of their vocal mechanism. This is known to be sensitive to changes in the endocrine environment. Despite a widespread belief among singers that vocal quality changes according to the stage of the menstrual cycle, this has received little attention. In particular, the possibility that use of the contraceptive pill might stabilize vocal quality by "dampening" hormonal fluctuations has not previously been studied systematically. Here, we show that drospirenone containing oral contraceptive pill (Yasmin, Schering AG, West Sussex, UK) with antiandrogenic and antimineralocorticoid properties demonstrates a significant reduction in the irregularity of the pattern of vibration of the vocal folds during the performance of highly trained classical singers. This study constitutes the first double blind, randomized placebo controlled trial to assess the effects of the contraceptive pill on the patterns of vibration of the vocal folds during the performance of Western classical singing repertoire.

The social context of musical success: a developmental account

This paper brings together extensive data from 257 children to explore the relative importance of social-environmental factors during critical periods of children's musical development. The paper also presents preliminary findings from a follow-up of 20 of the most musically successful children 8 years later to determine which childhood factors predict differences in success as adult performers. Those children who continued to play an instrument started at an early age, had higher parental support in lessons, and had first teachers who were friendly but not too technically able. However, these factors alone were not sufficient to predict relative success in childhood. Successful childhood musicians also appear to need teachers who are 'not too relaxed' and also 'not too pushy' and they also need to do substantial amounts of practice. The follow-up study suggested, though, that successful adult performers were not those who did the most practice; rather, the successful adults were those who took part in more concert activities in childhood, did more improvisation, and who had mothers at home in their early years. The results are discussed in relation to theories of musical development and the changing influences of parents, teachers and peers.

The effect of music therapy on mood states in neurological patients: a pilot study

Music therapy as a clinical intervention has been demonstrated to improve mood states with a variety of populations, however, this has not yet been shown empirically with participants with neurological impairments. This report presents the results of a pilot study examining the effect of music therapy on moods states in patients with acquired and complex neuro-disabilities. Using a single subject design, pre and post session mood states were measured using the Profile of Mood States (Bipolar form). Analyses examined the main effects of pre/post measures as well as interactions between the specific musical therapeutic intervention, mood state, and diagnosis. Results showed that, in terms of composed-anxious, energetic-tired, and agreeable-hostile mood states, there was a significant difference between pre and post music therapy intervention in a positive direction. Although the study displayed that the benefits of music therapy in treating mood states in this patient group are limited, some of the results were affected by the difficulty of the POMS-BI questionnaire for the subject group. The results are discussed considering methodological improvements and arguing for the inclusion of music therapy as an effective intervention to address negative mood states in neuro-rehabilitation populations.

Innate talents: reality or myth?

Talents that selectively facilitate the acquisition of high levels of skill are said to be present in some children but not others. The evidence for this includes biological correlates of specific abilities, certain rare abilities in autistic savants, and the seemingly spontaneous emergence of exceptional abilities in young children, but there is also contrary evidence indicating an absence of early precursors of high skill levels. An analysis of positive and negative evidence and arguments suggests that differences in early experiences, preferences, opportunities, habits, training, and practice are the real determinants of excellence.

Xeromammographic diagnosis of mammary hamartoma

A mammary hamartoma was diagnosed by xeromammography prior to surgery.

Leiomyosarcoma of the rectum and prostate

A 47-year-old man with leiomyosarcoma involving the rectum and prostate was treated by radical abdominoperineal resection. This case appears to be unique in that leiomyosarcoma was present in both the rectum and the prostate. The literature is reviewed, highlighting some interesting clinical features of this condition. The prognosis for leiomyosarcoma of both rectum and prostate is poor.

The microcirculation of the mammalian lymph node

Flow alterations to give complete filling of the lymphatic sinusoidal system and saccular lymph spaces around the germinal centers were demonstrated during a primary immune reaction. By contrast, in delayed hypersensitivity, saccules were not seen although there was marked enlargement of individual follicular units.

The U of T radiological research labs: a unique training environment for radiologists, technicians

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