Inter)nationally there is discussion about whether auditory processing disorders (APD) should be seen as a unique clinical diagnosis and what is the most appropriate diagnosis and referral of children in this target group. In this context, the Dutch Audiological Centres (AC) have different care pathways for children with so-called unexplained listening difficulties. The purpose of the current document is to provide professionals with tools to identify, diagnose and treat children with listening difficulties. The Dutch Position Statement Children with Listening Difficulties has been developed based on current scientific evidence of listening difficulties, and based on meetings held with professionals. Professionals in the Dutch Audiological Centres have reached a consensus with the following 9 statements: Definition: (1) The target group 'Children with listening difficulties' is not a unique and demonstrable clinical entity. (2) The problems of children with listening difficulties are multimodal. (3) The symptoms of children with listening difficulties may also occur in children with other developmental disorders such as AD(H)D, DLD, dyslexia and learning disorders. Detection and referral: (4) After detection of listening difficulties, children can be referred to a multidisciplinary centre. Diagnostics: (5) When diagnosing a child with listening difficulties, an audiologist, a speech language therapist and a behavioral scientist must be involved. (6) Listening difficulties are initially mapped using patient history (with client-centred focus) and, if available, a validated questionnaire. (7) In the case of children with listening difficulties, a speech-in-noise test is always carried out in addition to the pure tone and speech audiometry (8) The diagnostic procedure for listening difficulties starts from a broad perspective on development. Therapy: (9) For children with listening difficulties, intervention is focused on the client’s needs and focuses on action-oriented practice. This document informs professionals in the Netherlands, who are working with children who are referred because of listening difficulties in the absence of hearing loss, about the current evidence available and about the consensus in the Netherlands.
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The essays collected here are based on two decades of engagement with the residents of the slums of Govindpuri in India’s capital, Delhi. The book presents stories of many kinds, from speculative treatises, via the recollection of a thousand everyday conversations, to an account of the making of a radio documentary.Zig-zagging through the lanes of Govindpuri, Listening into Others explores the vibrant sounds emanating from slum culture. Redefining ethnography as listening in passing, Chandola excels at narrating the stories of the everyday. The ubiquity of smartphones, sonic selfies, wailing, the ethics of wearing jeans, the crossroad rituals of elections, the political agency of slum-dwellers, the war of the sexes through bodily gestures, and conflicts over ownership of both property and sound generated in the slums — these are among the many encounters Chandola opens up to the reader.Slums are anxious spaces in the materiality, experience, and imagination of a city. They are the by-products of the violent and exploitative mechanisms of urbanization. What becomes of the slum-dwellers, who universally, across centuries, cities and continents, befall similar fates of being discriminated, reckoned to be the scum of the earth, and a burden on society? By listening to identified others and amplifying their voices in their own vocabularies and grammar, Tripta Chandola’s praxis creates a methodological, political, and poetic rupture. Slums, she finds, are not anathema to the city’s past, present, or future. They are an integral component of urbanization and a foundational part of the city.With Listening into Others, Tripta Chandola poses the question: ‘Who owns the slum, and who determines which voices are heard? From where you are, listen with me.’
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Seiring dengan kemajuan ilmu pengetahuan dan teknologi yang menjadi pusat perhatian dunia. Maka manusia dituntut untuk menciptakan peralatan-peralatan canggih untuk teknologi muktahir. Baik itu dalam bidang bisnis, perdagangan, kesehatan, militer, pendidikan, komunikasi dan budaya maupun bidang-bidang lainnya. Maka teknologi ini membawa perubahan pada peralatan-peralatan yang dulunya bekerja secara analog mulai dikembangkan secara digital, dan bahkan yang bekerjanya secara manual sekarang banyak dikembangkan secara otomatis, seperti kamera digital, handycam, dan sebagainya, dalam pembacaan pengukuran juga sudah dikembangkan ke dalam teknik digital. Contohnya perangkat Load Cell. Dan keuntungan menggunakan Load Cell adalah untuk mempermudah dalam pembacaan data untuk meminimalkan kesalahan dalam pembacaan data yang disebabkan adanya human error.Pada pemilihan Load Cell bertujuan untuk memilih kecocokan dalam membuat rancang bangun alat uji tarik kapasitas 3 ton, dimana dalam pemilihan ini kami memilih jenis load cell “S” karna alat yang kita rancang adalah uji tarik bukan uji tekan. Dengan kapasitas load cell 5 ton. Untuk membuat jarak aman dalam pengujian specimen ST41. Load Cell menggunakan system perangkat elektronik pengolahan data yang menjadi sebuah kurva tegangan regangan. Data-data yang diperoleh tersebut berupa besarnya pembebanan hasil dari pengujian specimen ST41. Kata
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Divorce is a common and complex phenomenon with high social impact, especially when it involves pervasive conflict. This chapter discusses an analytic content-based framework for gaining an in-depth understanding of divorce. It considers seven inter- related dimensions: time, conflict, relationships, violence, systems, cooperation and communication. Each dimension can be further related to the exacerbating factors of addiction and psychiatric illness. This analytical method points the way to de- escalating domestic conflict and sometimes intimate violence after divorce by listen- ing to and properly interpreting the voices of children and parents. Partner violence and controlling behaviour before, during and after divorce can arise from the struggle of one partner to attack and diminish the other, or by both partners contending for power as the family breaks up. The resulting conflict can disrupt the parental partner- ship in ways that traumatize them and interfere with their children’s right to grow up in safe surroundings, nurtured and guided by both parents. Social professionals who respond effectively are able to look beyond stereotypes to sense the unique and subtle patterns underlying the intense and persistent discord characteristic of high-conflict divorce. Only when the particular aspects of those patterns are understood and prop- erly addressed can (co-) parenting be restored to assure the children of post-divorce safety and well-being.
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The students from three universities (Groningen, Oldenburg and the University of Applied Sciences in Utrecht) were surveyed on the experience of hearing and listening in their studies. Included in the online survey were established questionnaires on hearing loss, tinnitus, hyperacusis, a subscale on psychosocial strain resulting from impaired hearing and a questionnaire about students’ perceptions of listening ease in study environments. Results from the 10,466 students who completed the survey (13% response rate) are highlighted, with particular attention to listening ease and measures proposed by students for improving it. The number of students having problems with hearing and listening transpires to be substantially larger when research is not constrained to students with a recognised hearing impairment, suggesting that listening is primarily a sociocultural performance and achievement rather than an artefact of physical attributes. One finding from our survey is that classroom practices could be more effective if study soundscapes are improved, while universities might exercise greater inclusive responsibility for study as a high quality sensory experience for the benefit of all students.
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Background: Auditory processing disorder (APD) is a diagnosis that is widely discussed. Children diagnosed with APD have difficulty listening in complex situations, despite a well-functioning peripheral hearing. However, there seems to be no evidence for the validity of a purely auditory deficit. The aim of this study is to examine the differences in performance between children with suspected APD and typically developing children on tests of communication, auditory processing, nonverbal intelligence, working memory, and visual and auditory attention. Methods: In a case-control study we examined 9 children with suspected APD and 21 typically developing children, ages 8;0 to 12;0 years. The parents of all children completed three questionnaires about history, behavioral symptoms of ADHD, and communication skills. The teachers of the children completed the Children’s Auditory Processing Performance Scale (CHAPPS). The children themselves were assessed for auditory processing abilities, nonverbal intelligence, working memory, and auditory and visual attention. Results: No differences were found between groups in age, nonverbal intelligence quotient, and performance on auditory processing tests. Children with suspected APD have significantly poorer communication performance (parent report), poorer listening skills (teacher report), poorer working memory and poorer auditory and visual skills. Conclusion: There is a difference between children with suspected APD and typically developing children. Children with suspected APD perform insufficient on tests of working memory, and have a slower response to auditory and visual attention tasks. Parents of children with suspected APD report difficulties in communication and teachers assess the children of being at risk for listening difficulties.
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Creative arts engagement has been shown to be related to maintaining wellbeing in older adulthood (Tymoszuk et al., 2019). For people living with dementia, music can be engaging and rewarding (Baird & Thompson, 2018), and is often presented as a therapeutic activity. It is theorised that music’s capacity to effect change is due to its engaging, emotional, physical, personal, social and persuasive qualities (Brancatisano et al., 2020). However, music itself is a complex intervention (Loui, 2020) and the ‘creative’ in music activities in the small number of studies with people living with dementia is rarely described or critiqued (Creech et al., 2020). Music is often described as passive (receptive)/active to reflect different listening or playing activities. Only a few studies detail opportunities for people living with dementia to exercise creativity (e.g. Zeilig et al., 2019).Technology to assist these musical interactions in dementia falls under distinct categories of listening to music, or playing music, with very little afforded in the way of agency, choice or control (MacRitchie et al., 2023). A few possible explanations could be: i) the musical activity is valued in terms of pre/post cognitive or social changes (Kontos & Grigorovich, 2018) i.e., the activity itself is not particularly critiqued, ii) creativity is assumed to be embedded in the activity and does not need to be enhanced or supported, iii) the locus of creativity is in cognitive processes occurring in the brain, so people living with dementia are often ascribed a passive role in creative musical interactions (Zeilig et al., 2019). We propose a new way of thinking about musical interactions for people living with dementia, building from the enactive, embodied experience of music (Schiavio et al., 2022), and considering a more relational view. Leaving aside the framing where the person with dementia is limited in what creativity they can offer, we propose instead a framework of design where subtle acts of agency and (mini-C) creativity are afforded, supporting a myriad of musical interactions that sit between listening and performing.
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Music interventions are used for stress reduction in a variety of settings because of the positive effects of music listening on both physiological arousal (e.g., heart rate, blood pressure, and hormonal levels) and psychological stress experiences (e.g., restlessness, anxiety, and nervousness). To summarize the growing body of empirical research, two multilevel meta-analyses of 104 RCTs, containing 327 effect sizes and 9,617 participants, were performed to assess the strength of the effects of music interventions on both physiological and psychological stress-related outcomes, and to test the potential moderators of the intervention effects. Results showed that music interventions had an overall significant effect on stress reduction in both physiological (d = .380) and psychological (d = .545) outcomes. Further, moderator analyses showed that the type of outcome assessment moderated the effects of music interventions on stress-related outcomes. Larger effects were found on heart rate (d = .456), compared to blood pressure (d = .343) and hormone levels (d = .349). Implications for stress-reducing music interventions are discussed.
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Music interventions are used for stress reduction in a variety of settings because of the positive effects of music listening on both physiological arousal (e.g., heart rate, blood pressure, and hormonal levels) and psychological stress experiences (e.g., restlessness, anxiety, and nervousness). To summarize the growing body of empirical research, two multilevel meta-analyses of 104 RCTs, containing 327 effect sizes and 9,617 participants, were performed to assess the strength of the effects of music interventions on both physiological and psychological stress-related outcomes, and to test the potential moderators of the intervention effects. Results showed that music interventions had an overall significant effect on stress reduction in both physiological (d = .380) and psychological (d = .545) outcomes. Further, moderator analyses showed that the type of outcome assessment moderated the effects of music interventions on stress-related outcomes. Larger effects were found on heart rate (d = .456), compared to blood pressure (d = .343) and hormone levels (d = .349). Implications for stress-reducing music interventions are discussed.
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