The Responsiveness, Content Validity, and Convergent Validity of the Measure Yourself Concerns and Wellbeing (MYCaW) Patient-Reported Outcome Measure

Objective Measure Yourself Concerns and Wellbeing (MYCaW) is a patient-centred questionnaire that allows cancer patients to identify and quantify the severity of their ‘Concerns’ and Wellbeing, as opposed to using a pre-determined list. MYCaW administration is brief and aids in prioritising treatment approaches. Our goal was to assess the convergent validity and responsiveness of MYCaW scores over time, the generalisability of the existing qualitative coding framework in different complementary and integrative healthcare settings and content validity. Methods Baseline and 6-week follow-up data (n=82) from MYCaW and FACIT-SpEx questionnaires were collected for a service evaluation of the ‘Living Well With The Impact of Cancer’ course at Penny Brohn Cancer Care. MYCaW construct validity was determined using Spearman's Rank Correlation test, and responsiveness indices assessed score changes over time. The existing qualitative coding framework was reviewed using a new dataset (n=158) and coverage of concern categories compared to items of existing outcome measures. Results Good correlation between MYCaW and FACIT-SpEx score changes were achieved (r= -0.57, p≥0.01). MYCaW Profile and Concern scores were highly responsive to change: SRM=1.02 and 1.08; effect size=1.26 and 1.22. MYCaW change scores showed the anticipated gradient of change according to clinically relevant degrees of change. Categories including ‘Spirituality’, ‘weight change’ and ‘practical concerns’ were added to the coding framework to improve generalisability. Conclusions MYCaW scores were highly responsive to change, allowing personalized patient outcomes to be quantified; the qualitative coding framework is generalisable across different oncology settings and has broader coverage of patient-identified concerns compared with existing cancer-related patient-reported outcome measures.

The Punk-Rock King: Musical Anachronism in Period Film

Music has a powerful indexical ability to evoke particular times and places. Such an ability has been exploited at length by the often-elaborate soundscapes of period films, which regularly utilise incidental scores and featured period songs to help root their narrative action in past times, and to immerse their audiences in the sensibilities of a different age. However, this article will begin to examine the ways in which period film soundtracks can also be used to complicate a narrative sense of time and place through the use of ‘musical anachronism’: music conspicuously ‘out of time’ with the temporality depicted on screen. Through the analysis of a sequence from the film W.E. (Madonna, 2011) and the consideration of existing critical and conceptual contexts, this article will explore how anachronistic soundtracks can function beyond ‘postmodern novelty’ or ‘nuisance’ to historical verisimilitude, instead offering alternative modes of engagement with story and history.