Older patients were less likely to receive diagnostic investigations and lifestyle modification advice than younger patients. Guidelines need to be adopted to ensure prompt evidence-based stroke care in the outpatient setting.

A rapidly growing industry creates and markets a vast range of screen media products designed specifically for babies and children under the age of three. Marketing of these products targets parents and is based on both implicit and explicit educational claims. Although the majority of products target literacy and numeracy, music presentations are also available. Thirteen DVDs with titles implying a contribution to young children's musical development and education are the focus of this paper. Using ethnographic content analysis, they were examined in light of their repertoire; representations of the multimodal and interactional nature of young children's musical experiences; the developing intermodal perception of infants and toddlers; and the formal production features used to elicit attention. Observations of young children viewing the DVDs and semi-structured interviews with their mothers allowed data triangulation. DVDs found to provide the most valuable presentations for babies offer a variety of repertoire that includes singing and the use of acoustic instruments; model musical interactions between babies and others; and are temporally synchronous and audio-visually congruent. Producers of infant-directed media must consider the developmental needs of young children if their productions are to play a positive role in the musical lives of young children.

In recent years stroke has been recognised as a national clinical, research and policy priority. Stroke nurses and stroke nursing are important contributors, but previous studies have highlighted lack of clarity and contradictions in the nursing role. A stroke nursing conference in 2002 offered the opportunity to explore nurses' vision for the future through a series of focus group meetings. Many examples of good practice were identified, for example, nursing contributions to risk factor management and secondary prevention, service co-ordination and development, follow-up and support of stroke patients and their families. However, areas for further development include realigning services to a patient focus and ensuring equitable access, integrating services, supporting development of the nursing research evidence base and providing career and educational frameworks for nurses in stroke care. Nurses set out a vision for stroke nursing in which current strengths and developments are consolidated and disseminated in a dynamic, multiprofessional, integrated patient-focused service.

The introduction and use of various forms of technology have been noted by historians of music education as significant influences on the ways in which music education has developed. For example, George N. Heller notes that "education in general and music in particular have felt the impact of sound recording, film, television, videotape, computers, laser disk technology and a host of other innovations," while published materials and conferences on music education regularly include research into the applications and implications of types of electronic technology, as Peter R. Webster indicates. 1 This reflects the technologizing of both education in general and of music production and dissemination specifically. 2 In contrast to general computer-based technology, specific types of computer-based technology have strong relevance to the learning and teaching of music and other performing arts, owing to their ability to store and present sound and filmed events, to represent the multiple identities of performance educators (as creators, designers, performers, producers, researchers, teachers, technologists) through multimedia, and to provide sites of music creation, manipulation, and dissemination. As Renee Crawford puts it, "the importance of technology in music has meant its

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