Table 7.

Music reporting checklist*

	Yes Total non-experimental designs n=9 (%)	No Total non-experimental designs n=9 (%)
	Experimental designs n=4 (%)	Experimental designs n=4 (%)
A: Rationale for Music Selection/Intervention Theory What was the rationale for the music used and intervention?	Non-experimental designs: 1 (10)67	Non-experimental designs: 8 (90)61–66 68 69
	Experimental designs: 3 (90)2 70 71	Experimental designs: 1 (10)70
B1: Intervention Content Was it specified who selected the music (eg, preselected by investigator, participant selected)?	Non-experimental designs: 9 (100)61–69	n/a
	Experimental designs: 4 (100)2 70–72	n/a
B2: Music Was this is an original piece of music or a pre-existing musical composition? If a pre-existing musical composition was used then was the name of the composer and title of the musical composition stated? Was there a description of the music’s overall structure (eg, form, elements, instruments or other)?	Non-experimental designs: 3 (20)61 62 64	Non-experimental designs: 6 (80)63 65–69
	Experimental designs: 1 (10)(2)	Non-experimental designs: 3 (90)70–72
B3. Music Delivery Method (Live or Recorded) If the music was played live was it specified who delivered the music and performance? Was the size of the performance group specified for the live music (eg, interventionist only, interventionist and participant)? If recorded music was used, was placement of playback equipment and/or the use of headphones vs speakers specified? If recorded music was used, was the decibel level of music delivered and/or use of volume controls to limit decibels specified?	Non-experimental designs: 9 (100)61–69	n/a
	Experimental designs: 4 (100)2 70–72	n/a
B4: Intervention Materials Which musical and other materials were specified?	Non-experimental designs: 9 (100)61–69†	n/a
	Experimental designs: 4 (100)2 70–72	n/a
B5: Intervention Strategies What music-based intervention strategies were used (eg, listening, recreating music by singing/playing an instrument, instrument/vocal play, improvisation, movement, song writing or other)?	Non-experimental designs: 9 (100)61–69	n/a
	Experimental designs: 4 (100)2 70–72	n/a
C: Intervention Delivery Schedule What was the duration, frequency and intensity of the treatment?	Non-experimental designs: 9 (100)61–69†	n/a
	Experimental designs: 3 (100)2 70–72†	n/a
D: Interventionist Were the qualifications and credentials of interventionist(s) reported? If more than one interventionist, from which discipline/what qualifications and training details were reported?	Non-experimental designs: 9 (100)61–69	n/a
	Experimental designs: 3 (90)2 71 72	Experimental designs: 1 (10)70
E: Treatment Fidelity Were there any strategies used to ensure that treatment and/or control conditions were delivered as intended (eg, interventionist training, manualised protocols and intervention monitoring)?	Non-experimental designs 1 (10)64	Non-experimental designs: 9 (90)61 68 69
	Experimental designs: 3 (90)2 65 70	Experimental designs: 1 (10)71
F: Setting Where was the intervention delivered? What boundaries were reported (eg, time and location)? What ambient noise levels were reported in the environment? What boundaries were reported (eg, time and location)?	Non-experimental designs: 9 (100)61–69†	n/a
	Experimental designs: 4 (100)2 70–72†	n/a
G: Unit of Delivery Was the intervention delivered to individuals or groups of individuals?	Non-experimental designs: 9 (100)61–69	n/a
	Experimental designs: 4 (100)2 70–72	n/a

*Music-based Intervention Reporting Checklist was reproduced with permission from Robb et al. ⁵⁶

†Information was not fully described.