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Programs such as the Healthy Corner Store Initiative have been widely adopted in recent years to increase the availability of healthy foods in small retail food stores. Valid and reliable measures are necessary to evaluate the effectiveness of these programs. The validated instruments currently available for assessments require in-person evaluations, with surveys taking up to 30 minutes per store to complete. This instrument was developed by researchers at Arizona State University to simplify the process of evaluating the effectiveness of healthy store interventions, and to enable community partners and practitioners to conduct their own evaluations of food access. The SCAT was validated against an adapted version of the Nutrition Environment Measures Survey for Corner Stores, and tested for feasibility of use over the telephone. The SCAT was found to discriminate between corner stores in the top 20% of healthfulness scores from those in the lower 80% with 89% accuracy.
In 2015 a panel of experts was convened by Healthy Eating Research, a program of the Robert Wood Johnson Foundation, to establish a set of minimum guidelines small retail food stores could reach to be classified as meeting basic or preferred stocking levels. Work is currently in progress to assess how the SCAT scores correlate with basic and preferred levels.
The early music revival in Paris, which came into full swing in the 1890s, had a defining impact on the composer Claude Debussy. Among the leaders of this movement were the Chanteurs de Saint Gervais under the direction of Charles Bordes and the Schola Cantorum, a school Bordes founded for the study and performance of early music in Paris. Debussy wrote admiringly of the performances of the Chanteurs and opera productions he saw at the Schola. He also spoke of the revelatory nature of performances of Renaissance masses that he heard in Italy after he won the Prix de Rome. Finally, he most likely visited Solesmes, important in the revival of plainchant. Hitherto unknown documents raise questions about the date of that visit, which most likely took place in 1892 or 1893.
A powerful manifestation of the influence of early music on Debussy’s compositional style is a melodic gesture that he referred to as “arabesque.” Debussy made many comments about the “divine arabesque,” which he related to the “primitives,” Palestrina, Victoria, and di Lasso. Further, Debussy connected those composers’ use of the arabesque to plainchant: “They found the basis of [the arabesque] in Gregorian chant, whose delicate tracery they supported with twining counterpoints.”
Debussy’s writings on early music provide a deeper context for understanding how plainchant, as well as music from the Renaissance, contributed to his compositional style, specifically in his use of modes and his notion of the arabesque. These influences are especially apparent in his only a cappella choral work, Trois chansons de Charles d’Orléans.
Until now, analysis of the Trois chansons has not sufficiently considered the importance of either plainchant or the arabesque and their influence on the style and character of this work. Viewing Debussy’s musical aesthetic through the lens of plainchant and the arabesque brings his music to life in a new and exciting way, resulting in a richer understanding and more informed performance practice, especially in the Trois chansons de Charles d’Orléans.