Introduction Interruptions in treatment pose risks for people with HIV (PWH) and threaten progress in ending the HIV epidemic; however, the COVID‐19 pandemic's impact on HIV service delivery across diverse settings is not broadly documented. Methods From September 2020 to March 2021, the International epidemiology Databases to Evaluate AIDS (IeDEA) research consortium surveyed 238 HIV care sites across seven geographic regions to document constraints in HIV service delivery during the first year of the pandemic and strategies for ensuring care continuity for PWH. Descriptive statistics were stratified by national HIV prevalence (<1%, 1–4.9% and ≥5%) and country income levels. Results Questions about pandemic‐related consequences for HIV care were completed by 225 (95%) sites in 42 countries with low ( n = 82), medium ( n = 86) and high ( n = 57) HIV prevalence, including low‐ ( n = 57), lower‐middle ( n = 79), upper‐middle ( n = 39) and high‐ ( n = 50) income countries. Most sites reported being subject to pandemic‐related restrictions on travel, service provision or other operations (75%), and experiencing negative impacts (76%) on clinic operations, including decreased hours/days, reduced provider availability, clinic reconfiguration for COVID‐19 services, record‐keeping interruptions and suspension of partner support. Almost all sites in low‐prevalence and high‐income countries reported increased use of telemedicine (85% and 100%, respectively), compared with less than half of sites in high‐prevalence and lower‐income settings. Few sites in high‐prevalence settings (2%) reported suspending antiretroviral therapy (ART) clinic services, and many reported adopting mitigation strategies to support adherence, including multi‐month dispensing of ART (95%) and designating community ART pick‐up points (44%). While few sites (5%) reported stockouts of first‐line ART regimens, 10–11% reported stockouts of second‐ and third‐line regimens, respectively, primarily in high‐prevalence and lower‐income settings. Interruptions in HIV viral load (VL) testing included suspension of testing (22%), longer turnaround times (41%) and supply/reagent stockouts (22%), but did not differ across settings. Conclusions While many sites in high HIV prevalence settings and lower‐income countries reported introducing or expanding measures to support treatment adherence and continuity of care, the COVID‐19 pandemic resulted in disruptions to VL testing and ART supply chains that may negatively affect the quality of HIV care in these settings.

This article reports a pilot study of the potential benefits of a sustained programme of singing activities on the musical behaviours and hearing acuity of young children with hearing impairment (HI). Twenty-nine children (n=12 HI and n=17 NH) aged between 5 and 7 years from an inner-city primary school in London participated, following appropriate ethical approval. The predominantly classroom-based programme was designed by colleagues from the UCL Institute of Education and UCL Ear Institute in collaboration with a multi-arts charity Creative Futures and delivered by an experienced early years music specialist weekly across two school terms. There was a particular emphasis on building a repertoire of simple songs with actions and allied vocal exploration. Musical learning was also supported by activities that drew on visual imagery for sound and that included simple notation and physical gesture. An overall impact assessment of the pilot programme embraced pre- and post-intervention measures of pitch discrimination, speech perception in noise and singing competency. Subsequent statistical data analyses suggest that the programme had a positive impact on participant children's singing range, particularly (but not only) for HI children with hearing aids, and also in their singing skills. HI children's pitch perception also improved measurably over time. Findings imply that all children, including those with HI, can benefit from regular and sustained access to age-appropriate musical activities.

This paper reports on an exploratory research-and-development project concerning a device for conveying a conductor's gestures wirelessly to a visually impaired (blind or partially sighted) performer as a haptic signal. The research team developed this device from January to July 2017 under a University College London (UCL) Institute of Education "seed-corn" grant. As a platform for its development, they firstly observed and analysed video footage of conductors at the Royal Academy of Music, London using Elan software to create a gestural model. Subsequently, through gaining blind end-users' feedback on the device, as well as an experiment to compare their timing using either (i) a two-dimension haptic signal or (ii) a metronomic pulsation, it is suggested that the development of technologies for this purpose should focus on the meaning the conductor intends to convey coupled with haptic signals blind end-users themselves deem suitable, rather than adopting a "sighted perspective" in attempting faithful transference of two-dimensional captures of arm movements from one medium to another. Reasons for this assertion are explored. THE ENSEMBLE EXPERIENCES OF THE VISUALLY IMPAIREDVisually impaired musicians participate in some music ensembles with limited or no reference to the conductor's gestures by contrast with their sighted counterparts. These musicians navigate the experience variously depending on particular sight conditions and personal approaches; these are not without challenges. I've done those "Come and sing" events, so "Come and sing Mozart's requiem, come and sing Messiah" just for fun. …They [the sighted singers around me] are obviously just reading their music and not watching the conductor. Sometimes conductors say "Don't listen to them, go in time with me, look at me" and I think "Maybe I should just go home then" (laughs). (Felicity, keyboard player and singer, blind) Felicity 1 is a visually impaired 2 singer who performs in choirs alongside sighted musicians. Her remark above highlights a perennial issue: Integration into many types of conducted musical 1 Pseudonyms have been used in this paper for every respondent. 2 We have used the term "visually impaired" as an umbrella term to denote those with sight health problems or the absence of sight such that they meet the requirements of UK registration by an ophthalmologist. Under this umbrella there may be people who the layperson may describe as "blind" or "partially sighted", and we use those terms too. Other terms in common usage include "sightless", "sight impaired", "low vision", etc. with

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