In order to optimize collaboration between Speech and Language Therapists (SLTs) and parents of children with Developmental Language Disorders (DLD), our aim was to study what is needed for SLTs to transition from the parent-as-therapist aide model to the FCC model and optimal collaborate with parents. Chapter 2 discusses the significance of demystifying collaborative working by making explicit how collaboration works. Chapter 3 examines SLTs’ perspectives on engaging parents in parent-child interaction therapy, utilizing a secondary analysis of interview data. Chapter 4 presents a systematic review of specific strategies that therapists can employ to enhance their collaboration with parents of children with developmental disabilities. Chapter 5 explores the needs of parents in their collaborative interactions with SLTs during therapy for their children with DLD, based on semi-structured interviews. Chapter 6 reports the findings from a behavioral analysis of how SLTs currently engage with parents of children with DLD, using data from focus groups. Chapter 7 offers a general discussion on the findings of this thesis, synthesizing insights from previous chapters to propose recommendations for practice and future research.
Neighbourhood interventions are important for creating supportive structures for parents and children and for other community members. Little is known, however, about what works for whom in what situation. The aim of this study was to gain a better understanding of what works for whom in community interventions in the neighbourhood. Realist synthesis was used as a review methodology to examine community interventions. Six databases were searched for studies published between January 1st, 2000 and May 8th, 2020 and 28 community programs reported in 34 publications were included. Multiple rounds of coding and several discussions with experts and the project team were conducted to analyze these studies and programs, and to understand underlying assumptions of neighbourhood interventions. This resulted in the definition of ten important mechanisms of change in specific contexts. These were found on two levels: on an interpersonal level (e.g. social support) and on a community level (e.g. social norms). Positive mechanisms of change varied from supportive professionals to participants in the intervention, to co-production in developing the intervention. Negative mechanisms were only found on the community level and were related to professionals’ and community members’ skills. Mechanisms of change were found to be related to specific contexts, such as implementation strategies and the type of intervention. Professionals and municipalities can use these mechanisms of change to improve their interventions and neighbourhood practices.
Abstract The emergence of new technologies such as mp3 and music streaming, and the accompanying digital transformation of the music industry, have led to the shift and change of the entire music industry’s value chain. While music is increasingly being consumed through digital channels, the number of empirical studies, particularly in the field of music copyright in the digital music industry, is limited. Every year, rightsholders of musical works, valued 2.5 billion dollars, remain unknown. The objectives of this study are twofold: First to understand and describe the structure and process of the Dutch music copyright system including the most relevant actors within the system and their relations. Second to apply evolutionary economics approach and Values Sensitive Design method within the context of music copyright through positive-empirical perspective. For studies of technological change in existing markets, the evolutionary economics literature provides a coherent and evidence-based foundation. The actors are generally perceived as being different, for example with regard to their access to information, their ability to handle information, their capital and knowledge base (asymmetric information). Also their norms, values and roles can differ. Based on an analysis of documents and held expert interviews, we find that the collection and distribution of the music copyright money is still based on obsolete laws, neoclassical paradigm and legacy IT-system. Finally, we conclude that the rightsholders are heterogenous and have asymmetrical information and negotiating power. The outcomes of this study contribute to create a better understanding of impact of digitization of music copyright industry and empower the stakeholders to proceed from a more informed perspective on redesigning and applying the future music copyright system and pre-digital norms and values amongst actors.
