Sentence examples for listening interventions from inspiring English sources

Music therapy is defined as the " systematic process of intervention wherein the therapist helps the client to promote health, using music experiences and the relationships that develop through them as dynamic forces of change" [ 1] and thereby contrasts 'music medicine' or mere 'music listening' interventions that do not require the presence of a professional therapist.

Intervention menu, when the user has chosen to listen to interventions, they are able to listen to all the interventions, the current intervention, last intervention or exit to the main menu.

System: Ok, I have 3 choices for you, if you wish to listen to interventions, say the word interventions, to listen to feedback, say the word feedback, to exit, say the word exit.

And after listening to the interventions of the other 7 participants on the panel, I am even more convinced of this than I was before.

Facilitators are also evaluated on five core counselling skills deemed essential for the successful delivery of the interventions (listening, enabling, involving the entire group, being inquisitive and empathic).

The crucial component is to put women and girls at the center of the intervention; listening to women and girls, their needs, opinions, preferences, interest, and obstacles is essential for every tailored intervention with women and girls rather than assuming that humanitarian actors know their needs.

This systematic review investigated the use and efficacy of music listening as an intervention for children and adolescents in clinical and non-clinical settings.

Music intervention, listening to or playing a musical instrument, has also been shown to improve depression and cognitive function [ 17, 18].

Other interventions included listening to music [ 25], home-based physical exercise [ 26], nurse or community health worker home visits [ 27], and postnatal support group sessions [ 28].

The participants were instructed to keep written track of the time spent on listening or viewing the intervention, however due to a lack of consistent recorded data for all participants, the time-on-intervention data were not used as a correlational variable.

The program essay reveals that the dancers — only sometimes, of course — are following private maps (including one of an imagined Sumerian village), speaking a made-up language, listening to Mr. Forsyth's interventions and envisioning a play that has not yet been created.