ACO Music Data & Analysis: interdisciplinary stuies, converting information to knowledge
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The music industry is subject to hype. Statistics can separate the hype from the reality. Of interdisciplinary, ACO Music Data & Analysis enables clear assessment of the impact of music on society. Used at universities around the world in music courses, business courses and social studies as well as modern history (What was the impact of protest songs during the Vietnam war?)
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Pitch
The magazine 'ELECTROSHOCK' will focus on electronic music genres and be aimed at 16-24 year olds from urban environments interested in popular artists in electronic music. It will feature interviews with artists, reviews of songs and events, and have strong ties to social media. Each issue will have a stylized black, grey, white, and neon green color scheme and balance pictures with text to keep readers engaged, such as an example spread with an exclusive interview and album review of a fictional popular electronic artist.
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The document outlines the structure and content for a maiden speech by a new member of parliament representing Rockhampton, including introducing themselves and their background, discussing the history and issues facing Rockhampton, and their political agenda to address needs like better roads, youth unemployment, and tourism through their term in office.
Pitch for magazine
This document outlines a plan for a new rock music magazine. The magazine will be aimed at audiences aged 18-30 who enjoy rock music. It will provide entertainment and information on the history of rock music, local bands and artists, and upcoming music events. The magazine will be available in both a printed format costing £3.99 and a digital app costing 99p per week. Resources needed include photography equipment, design software, and personnel such as writers, photographers, and graphic designers. The magazine will be marketed through social media, posters, leaflets, and its website.
Nerd Music Sample_classic
This document provides an overview of the history of nerd music from the 18th century to present day. It discusses different eras such as the Common Man Age from 1781-1930, the Satirical Age from 1953-1964, the Record Age from 1967-1981, the Video Era from 1981-1991, the Programming Era from 1997-2000, the Penetration Era from 2003-2009, and the Legitimacy Era from 2010-present. The document also provides some examples of nerd music from different eras and discusses how nerd music has evolved over time and become more mainstream.
Blog 8 - Maiden Speech
The speaker provides background on themselves, their love for Rockhampton, and their political agenda to address issues like euthanasia, roads, unemployment, and tourism. They intend to advocate for Rockhampton and create a better future for the city through their role as a member of parliament. Effective speech devices will be used to discuss these issues and thank supporters for their help in achieving this goal.
EH Practice pitch
This document provides details about a proposed indie rock magazine to be distributed locally in Hertfordshire, England. The magazine will cover both mainstream and lesser-known indie rock artists from the area as well as live music events ranging from festivals to small local gigs. The target audience is young people ages 16-30 interested in live music, as well as older audiences over 30 who enjoy indie rock music and live events. Each monthly issue will feature a local or famous band on the cover along with information on upcoming area concerts and competitions for tickets.
Market research of potencial museum visitors
Is the City Musem of Ljubljana recognisible among the day visitors of Ljubljana? what are the neeeds and expectations of hte potencila visitors? These are the questions which the research in PPP tries to answer.
Speech powerpoint blog 8
The speaker gives their maiden speech as the new member for Rockhampton, introducing themselves and their background growing up in Rockhampton. They discuss their love for the city and its people, as well as Rockhampton's history and growth. The speaker outlines their political agenda to address issues like roads, unemployment, and healthcare in order to improve Rockhampton for its residents. They intend to advocate effectively for the city and its people as the new member of parliament.
Recommended
Pitch
The magazine 'ELECTROSHOCK' will focus on electronic music genres and be aimed at 16-24 year olds from urban environments interested in popular artists in electronic music. It will feature interviews with artists, reviews of songs and events, and have strong ties to social media. Each issue will have a stylized black, grey, white, and neon green color scheme and balance pictures with text to keep readers engaged, such as an example spread with an exclusive interview and album review of a fictional popular electronic artist.
Speech powerpoint blog 8
The document outlines the structure and content for a maiden speech by a new member of parliament representing Rockhampton, including introducing themselves and their background, discussing the history and issues facing Rockhampton, and their political agenda to address needs like better roads, youth unemployment, and tourism through their term in office.
Pitch for magazine
This document outlines a plan for a new rock music magazine. The magazine will be aimed at audiences aged 18-30 who enjoy rock music. It will provide entertainment and information on the history of rock music, local bands and artists, and upcoming music events. The magazine will be available in both a printed format costing £3.99 and a digital app costing 99p per week. Resources needed include photography equipment, design software, and personnel such as writers, photographers, and graphic designers. The magazine will be marketed through social media, posters, leaflets, and its website.
Nerd Music Sample_classic
This document provides an overview of the history of nerd music from the 18th century to present day. It discusses different eras such as the Common Man Age from 1781-1930, the Satirical Age from 1953-1964, the Record Age from 1967-1981, the Video Era from 1981-1991, the Programming Era from 1997-2000, the Penetration Era from 2003-2009, and the Legitimacy Era from 2010-present. The document also provides some examples of nerd music from different eras and discusses how nerd music has evolved over time and become more mainstream.
Blog 8 - Maiden Speech
The speaker provides background on themselves, their love for Rockhampton, and their political agenda to address issues like euthanasia, roads, unemployment, and tourism. They intend to advocate for Rockhampton and create a better future for the city through their role as a member of parliament. Effective speech devices will be used to discuss these issues and thank supporters for their help in achieving this goal.
EH Practice pitch
This document provides details about a proposed indie rock magazine to be distributed locally in Hertfordshire, England. The magazine will cover both mainstream and lesser-known indie rock artists from the area as well as live music events ranging from festivals to small local gigs. The target audience is young people ages 16-30 interested in live music, as well as older audiences over 30 who enjoy indie rock music and live events. Each monthly issue will feature a local or famous band on the cover along with information on upcoming area concerts and competitions for tickets.
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Is the City Musem of Ljubljana recognisible among the day visitors of Ljubljana? what are the neeeds and expectations of hte potencila visitors? These are the questions which the research in PPP tries to answer.
Speech powerpoint blog 8
The speaker gives their maiden speech as the new member for Rockhampton, introducing themselves and their background growing up in Rockhampton. They discuss their love for the city and its people, as well as Rockhampton's history and growth. The speaker outlines their political agenda to address issues like roads, unemployment, and healthcare in order to improve Rockhampton for its residents. They intend to advocate effectively for the city and its people as the new member of parliament.
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Classical Music Tourism Presentation
This document outlines a research study to examine the motivations and behaviors of classical music tourists. The purpose is to help classical music organizations attract more audiences and benefit tourism. Key research questions focus on segmenting visitors, their motivations and demands, and how organizations can improve. A literature review found that music festivals attract people for various reasons beyond just music, and classical concert attendees have diverse influences like education and ticket prices. The proposed research design uses questionnaires and focus groups to understand perceptions and collect demographic data from classical music audiences. The findings will be analyzed using SPSS and are expected to segment visitors and identify music and non-music factors affecting attendance. The results aim to provide organizations with insights to attract more national and international attendees.
Pitch for magazine
This document outlines a proposal for a rock music magazine called "Crazy Metro" that will be targeted towards an audience aged 18-30 who enjoy rock music. The magazine will be released every two weeks with a physical copy price of £3.99 and will include content like the history of rock music, information on local bands and artists, and details on upcoming music events. It will require a team of personnel including a photographer, writer, social media advisor, and graphic designer and will be distributed and marketed through social media, posters, leaflets, and a website.
All things rock
The document outlines a proposed rock music magazine for Hertfordshire. It will have a black and white color scheme and focus on informing readers about past and upcoming rock music events in the region through articles, interviews, and event listings. The primary targets are males aged 40-60, with secondary audiences of males 25-40 and females 40-60. The magazine will be sold for £3.99 at shops, supermarkets, and distributed at concerts with additional advertising in local newspapers.
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Our aims are to achieve 25% brand recognition in Minsk by January 2019 with an average of 15 daily visitors and average check amount of 30 bel.r by June 2018.
The target customer profile is men and women aged 15-30 in Minsk, Belarus who have interests in books, creativity, art, coffee, and music with an above average wage level.
The plan is to hire a creative journalist to write positive press releases and create a social media posting schedule to distribute relevant information to media outlets covering our market and send to radio and TV channels to promote our brand of offering the largest selection of creative postcards, pens, notebooks, stickers, and books along with hosting events and contests to
Choosing a music magazine
The document discusses researching music magazines to help develop a new pop-rock magazine. It examines several existing magazines like Q Magazine, Rolling Stone, and Blender to understand their conventions and target audiences. Q Magazine combines rock and pop which relates to the planned genre, but there are many rock magazines. Rolling Stone has renowned pop writers contributing to rock coverage, providing diverse content. Blender includes some indie rock along with pop. The research found current rock magazines typically aim at white, British or American men aged 25-30, so the new magazine will target a younger, more female audience aged 16-20 to create a niche market underserved by existing magazines.
Soviet time born Latvian punk: social origins and object of protest
Paper for 3rd INTERNATIONAL CONFERENCE, INTERDISCIPLINARY CULTURAL GROUP RESEARCH: Youth Subcultures, Worldviews and Lifestyles, Kaunas, Lithuania
Previous research on beginnings of Latvian punk, which was mostly done in fields of journalism and punk activism, indicates that first Latvian punks appeared in early 80-ies, but the first punk bands - in the first half of the same decade. This rises the first question: why punk came so late? Comparing with Estonia and Russia or with some Central European socialist countries, it was late (Troitsky 1988, Trubetsky 2009, Haas 2001). Comparing with some other Soviet Republics or some 3rd World Countries the first wave of Latvian punks cannot be labeled as late. There are some explanations why Latvian youth were behind the Estonians in adoption of punk style. Most popular is Estonia’s closeness to the capitalistic Finland. They were better informed about newest trends in the ‘free world’ because they get better access to the Finland’s broadcasting, including TV, and mass media, and to understand the communication was easier because of similar languages. Other explanation of lagging Latvian punk scene, and not only the punk, the same can be said about whole Latvian rock, is more conservative and strict local cultural policy.
Second question asks about the social origins of first soviet Latvia’s punks. There are two prevailing lines in explanation of the birth of subcultures, including punk. The first is original Birmingham subcultural theory, which talks about relations of youth class and resistance through the style and rituals (Hebdige 1979). More modern approach to the analysis of subcultures brings so called post-subcultural theory, stating that youth involvement in different taste cultures or subcultural groups are matter of individual choice, not determined by the factual class affiliation (Bennett 1999; Muggleton 2000).
If we are investigating early Latvian punk, we can detect both aspects and motivations, but also new factors emerges. Significant part of the first Latvian punks were strongly connected with the art school circuits. It might be said that these middle class kids were better informed about current cultural trends in the West and just appropriated punk style as a sign of distinction. At the same time actual resistance in soviet-time Latvian punk was always apparent. Arguing with the political regime the main battlefield was so called national question. Ethnic Latvian punks expressed their national oppression turning to the right, in direction of nationalism. This was one of the main reasons why they adopted swastika and nazi imagery. This also initially lead to the separation of newly forming punk scene into two: Latvian singing and Russian singing. This again contest the notion of style as purely aesthetic value.
Questionnaire analysis
The document contains the results from a questionnaire about pop rock music fans. It includes charts and analysis on:
- The gender breakdown of participants, which showed slightly more females than males.
- The age ranges of female and male participants, with most being 16-24, which is the target age group.
- How pop rock fans consume music, mainly through YouTube and Spotify rather than buying physically.
- The magazines and websites pop rock fans use, including YouTube, Kerrang, and artist-specific sites.
- How people find out about new music, primarily through the internet and recommendations from other people.
Research - Questionnaire Results
The document summarizes the results of a 23-person questionnaire about music preferences. Most participants were aged 13-25, the target demographic. Pop and rock were the most popular genres listened to, showing these should be the focus for song selection. While pop and rock were most listened to, music channels like "The Box", "Kiss", and "Channel AKA" catering to more niche genres were also frequently watched, indicating people enjoy more specialized music depending on the context.
Music industry marketing presentation
This document provides information about marketing the reggae band The Dirty Wizards to Loyola University students. It defines marketing, provides details about the band, explains why reggae and college students are a good target market match. It then outlines several marketing strategies, including assembling a street team, starting a mailing list, posting flyers, and getting band merchandise. Specific locations for shows and marketing around the Loyola and Tulane campuses are recommended.
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The American String Quartet, comprised of four New York City based musicians, will perform as part of Skidmore College's Bartók String Quartet Series on October 8th at 8pm at the Zankel Music Center. The Bartók Series over the next two years will feature six guest groups performing the historic string quartets of Béla Bartók. Bartók influenced many 20th century composers through his unique compositional style of using irregular scales rather than chord progressions. The American String Quartet is renowned for their skill in representing both American and European classical styles.
Audience research
Freddie Fullman is conducting audience research for a punk fanzine. They struggle to find statistics on listeners aged 16-25 because punk is a niche genre. They analyze age demographics of similar rock genres and a study on punk subgenres preferred by those aged 16-24. Most punk listeners are male. An interview provides information on whether punk is dying and recommendations for 1970/80s bands. The fanzine may include an online store section as punk fashion is hard to access. Punk's anti-authority themes attract emulators.
Audience research 22
Freddie Fullman is conducting audience research for a punk fanzine. They struggle to find statistics on listeners aged 16-25 because punk is a niche genre. They analyze age demographics of similar rock genres and a study on punk subgenres preferred by those aged 16-24. Most punk listeners are male. An interview provides information on whether punk is dying and recommendations for 1970/80s bands. The psychographic of punk fans includes anti-authority attitudes. Sources suggest celebrities promote unhealthy behaviors that influence teens. Statistics on the UK and Polish punk listening populations are provided.
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This document summarizes research into how music genres in Brazil have changed over the last 50 years. The researcher gathered data on artists and genres from 1960-2010 and analyzed trends. Key findings include that non-traditional, Western genres have increased drastically since the 1960s likely due to globalization. Traditional Brazilian genres saw a slight rise in the 1990s but have decreased since. The diversity of genres played in Brazil has also increased over time. Additionally, while male artists have dominated the Brazilian music industry, the percentage of female artists has risen slowly since the 1980s.
Music Venues Analysis - Salumeria della Musica
The starting point of this paper is the will to understand the attending reasons of our respondents.
The in-depth interviews revealed an interest in more than one aspect of a jazz venue: not only the artists but also the physical environment and the atmosphere (a little percentage was interested in aspects different from those).
To start to understand and apply the PAD model, we needed to elaborate the data that come from the questionnaires and after that to conduct, with the support of SPSS, factor analysis on atmospherics and emotions. The results were then used to see “How do atmospherics influence the perception of emotions?”, “How do perceived emotions influence clients’ behavior?”, “Do atmospherics also have an effect on behavior?”.
Based on the results of the regressions related to the PAD and some further analyses, we concluded our research with some managerial advice that can be useful to the owner of the place in order to exploit the effective potential of Salumeria della Musica.
Market research
Three UK music magazines are analyzed: Uncut, Classic Rock, and Q. Uncut targets passionate rock music fans aged 29 with a high readership. Classic Rock appeals to older, right-leaning men working in entertainment or marketing. Q aims for a younger audience of 29 interested in modern music. Circulation and readership data is from industry sources like abc.org.uk, though some estimates like Q's readership lack reliable sources. Mission statements come directly from publisher sites.
Prelude 1 Enjoyment of Music 3rd Ed.
This document contains lecture slides about music appreciation. It introduces the focus of the course as increasing knowledge about music to help attend and understand musical events. It discusses the musical process of creation by composers, interpretation by performers, and response from listeners. Key aspects of musical works like melody, rhythm, and form are examined. Practical tips are provided for attending concerts including different types of performances and proper etiquette. Information needed for opera and ballet is also outlined.
Magazine Evaluation Q2
The document discusses how the magazine Krash attracted and addressed its audience. It set a reasonably low price of £1.90 which attracted readers. The website provided multiple ways for readers to interact with Krash online. The focus on the front cover design was to attract readers' attention in shops and influence their decision to buy. Bright colors and a photo of an artist looking at the reader created a connection. Polls and surveys of the target audience ensured the magazine met readers' expectations.
Prelude 1 Listening to Music Today
This document provides an overview of lecture slides for a music appreciation course. It outlines the focus of the course as increasing knowledge about music to help students participate in and understand musical events. It discusses fundamental concepts like the musical process of creation, interpretation, and response. It also provides practical listening suggestions and etiquette for attending different types of live concerts, operas, and ballets. The slides are from a textbook on music appreciation and cover topics like the materials of music, different types of concerts, and preparing for musical performances.
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This document discusses Hungarian classical composers and how their music was influenced by Hungarian history and culture. It provides biographies of several influential Hungarian composers such as Bela Bartok and Zoltan Kodaly. It notes that these composers turned to Hungarian folk music to find a unique musical voice and better understand Hungarian national identity, as the country's borders and politics fluctuated. The document examines how the composers' lives and music were shaped by Hungary's political instability and rapid social changes. It provides details on Bartok's upbringing and career, and how his style evolved from imitating European models in his early works to drawing on Hungarian folk traditions later in his life.
Classical Music Tourism Presentation
This document outlines a research study to examine the motivations and behaviors of classical music tourists. The purpose is to help classical music organizations attract more audiences and benefit tourism. Key research questions focus on segmenting visitors, their motivations and demands, and how organizations can improve. A literature review found that music festivals attract people for various reasons beyond just music, and classical concert attendees have diverse influences like education and ticket prices. The proposed research design uses questionnaires and focus groups to understand perceptions and collect demographic data from classical music audiences. The findings will be analyzed using SPSS and are expected to segment visitors and identify music and non-music factors affecting attendance. The results aim to provide organizations with insights to attract more national and international attendees.
Pitch for magazine
This document outlines a proposal for a rock music magazine called "Crazy Metro" that will be targeted towards an audience aged 18-30 who enjoy rock music. The magazine will be released every two weeks with a physical copy price of £3.99 and will include content like the history of rock music, information on local bands and artists, and details on upcoming music events. It will require a team of personnel including a photographer, writer, social media advisor, and graphic designer and will be distributed and marketed through social media, posters, leaflets, and a website.
All things rock
The document outlines a proposed rock music magazine for Hertfordshire. It will have a black and white color scheme and focus on informing readers about past and upcoming rock music events in the region through articles, interviews, and event listings. The primary targets are males aged 40-60, with secondary audiences of males 25-40 and females 40-60. The magazine will be sold for £3.99 at shops, supermarkets, and distributed at concerts with additional advertising in local newspapers.
Pr
Our aims are to achieve 25% brand recognition in Minsk by January 2019 with an average of 15 daily visitors and average check amount of 30 bel.r by June 2018.
The target customer profile is men and women aged 15-30 in Minsk, Belarus who have interests in books, creativity, art, coffee, and music with an above average wage level.
The plan is to hire a creative journalist to write positive press releases and create a social media posting schedule to distribute relevant information to media outlets covering our market and send to radio and TV channels to promote our brand of offering the largest selection of creative postcards, pens, notebooks, stickers, and books along with hosting events and contests to
Choosing a music magazine
The document discusses researching music magazines to help develop a new pop-rock magazine. It examines several existing magazines like Q Magazine, Rolling Stone, and Blender to understand their conventions and target audiences. Q Magazine combines rock and pop which relates to the planned genre, but there are many rock magazines. Rolling Stone has renowned pop writers contributing to rock coverage, providing diverse content. Blender includes some indie rock along with pop. The research found current rock magazines typically aim at white, British or American men aged 25-30, so the new magazine will target a younger, more female audience aged 16-20 to create a niche market underserved by existing magazines.
Soviet time born Latvian punk: social origins and object of protest
Paper for 3rd INTERNATIONAL CONFERENCE, INTERDISCIPLINARY CULTURAL GROUP RESEARCH: Youth Subcultures, Worldviews and Lifestyles, Kaunas, Lithuania
Previous research on beginnings of Latvian punk, which was mostly done in fields of journalism and punk activism, indicates that first Latvian punks appeared in early 80-ies, but the first punk bands - in the first half of the same decade. This rises the first question: why punk came so late? Comparing with Estonia and Russia or with some Central European socialist countries, it was late (Troitsky 1988, Trubetsky 2009, Haas 2001). Comparing with some other Soviet Republics or some 3rd World Countries the first wave of Latvian punks cannot be labeled as late. There are some explanations why Latvian youth were behind the Estonians in adoption of punk style. Most popular is Estonia’s closeness to the capitalistic Finland. They were better informed about newest trends in the ‘free world’ because they get better access to the Finland’s broadcasting, including TV, and mass media, and to understand the communication was easier because of similar languages. Other explanation of lagging Latvian punk scene, and not only the punk, the same can be said about whole Latvian rock, is more conservative and strict local cultural policy.
Second question asks about the social origins of first soviet Latvia’s punks. There are two prevailing lines in explanation of the birth of subcultures, including punk. The first is original Birmingham subcultural theory, which talks about relations of youth class and resistance through the style and rituals (Hebdige 1979). More modern approach to the analysis of subcultures brings so called post-subcultural theory, stating that youth involvement in different taste cultures or subcultural groups are matter of individual choice, not determined by the factual class affiliation (Bennett 1999; Muggleton 2000).
If we are investigating early Latvian punk, we can detect both aspects and motivations, but also new factors emerges. Significant part of the first Latvian punks were strongly connected with the art school circuits. It might be said that these middle class kids were better informed about current cultural trends in the West and just appropriated punk style as a sign of distinction. At the same time actual resistance in soviet-time Latvian punk was always apparent. Arguing with the political regime the main battlefield was so called national question. Ethnic Latvian punks expressed their national oppression turning to the right, in direction of nationalism. This was one of the main reasons why they adopted swastika and nazi imagery. This also initially lead to the separation of newly forming punk scene into two: Latvian singing and Russian singing. This again contest the notion of style as purely aesthetic value.
Questionnaire analysis
The document contains the results from a questionnaire about pop rock music fans. It includes charts and analysis on:
- The gender breakdown of participants, which showed slightly more females than males.
- The age ranges of female and male participants, with most being 16-24, which is the target age group.
- How pop rock fans consume music, mainly through YouTube and Spotify rather than buying physically.
- The magazines and websites pop rock fans use, including YouTube, Kerrang, and artist-specific sites.
- How people find out about new music, primarily through the internet and recommendations from other people.
Research - Questionnaire Results
The document summarizes the results of a 23-person questionnaire about music preferences. Most participants were aged 13-25, the target demographic. Pop and rock were the most popular genres listened to, showing these should be the focus for song selection. While pop and rock were most listened to, music channels like "The Box", "Kiss", and "Channel AKA" catering to more niche genres were also frequently watched, indicating people enjoy more specialized music depending on the context.
Music industry marketing presentation
This document provides information about marketing the reggae band The Dirty Wizards to Loyola University students. It defines marketing, provides details about the band, explains why reggae and college students are a good target market match. It then outlines several marketing strategies, including assembling a street team, starting a mailing list, posting flyers, and getting band merchandise. Specific locations for shows and marketing around the Loyola and Tulane campuses are recommended.
pressrelease
The American String Quartet, comprised of four New York City based musicians, will perform as part of Skidmore College's Bartók String Quartet Series on October 8th at 8pm at the Zankel Music Center. The Bartók Series over the next two years will feature six guest groups performing the historic string quartets of Béla Bartók. Bartók influenced many 20th century composers through his unique compositional style of using irregular scales rather than chord progressions. The American String Quartet is renowned for their skill in representing both American and European classical styles.
Audience research
Freddie Fullman is conducting audience research for a punk fanzine. They struggle to find statistics on listeners aged 16-25 because punk is a niche genre. They analyze age demographics of similar rock genres and a study on punk subgenres preferred by those aged 16-24. Most punk listeners are male. An interview provides information on whether punk is dying and recommendations for 1970/80s bands. The fanzine may include an online store section as punk fashion is hard to access. Punk's anti-authority themes attract emulators.
Audience research 22
Freddie Fullman is conducting audience research for a punk fanzine. They struggle to find statistics on listeners aged 16-25 because punk is a niche genre. They analyze age demographics of similar rock genres and a study on punk subgenres preferred by those aged 16-24. Most punk listeners are male. An interview provides information on whether punk is dying and recommendations for 1970/80s bands. The psychographic of punk fans includes anti-authority attitudes. Sources suggest celebrities promote unhealthy behaviors that influence teens. Statistics on the UK and Polish punk listening populations are provided.
Brazil Music Project Spring 2013
This document summarizes research into how music genres in Brazil have changed over the last 50 years. The researcher gathered data on artists and genres from 1960-2010 and analyzed trends. Key findings include that non-traditional, Western genres have increased drastically since the 1960s likely due to globalization. Traditional Brazilian genres saw a slight rise in the 1990s but have decreased since. The diversity of genres played in Brazil has also increased over time. Additionally, while male artists have dominated the Brazilian music industry, the percentage of female artists has risen slowly since the 1980s.
Music Venues Analysis - Salumeria della Musica
The starting point of this paper is the will to understand the attending reasons of our respondents.
The in-depth interviews revealed an interest in more than one aspect of a jazz venue: not only the artists but also the physical environment and the atmosphere (a little percentage was interested in aspects different from those).
To start to understand and apply the PAD model, we needed to elaborate the data that come from the questionnaires and after that to conduct, with the support of SPSS, factor analysis on atmospherics and emotions. The results were then used to see “How do atmospherics influence the perception of emotions?”, “How do perceived emotions influence clients’ behavior?”, “Do atmospherics also have an effect on behavior?”.
Based on the results of the regressions related to the PAD and some further analyses, we concluded our research with some managerial advice that can be useful to the owner of the place in order to exploit the effective potential of Salumeria della Musica.
Market research
Three UK music magazines are analyzed: Uncut, Classic Rock, and Q. Uncut targets passionate rock music fans aged 29 with a high readership. Classic Rock appeals to older, right-leaning men working in entertainment or marketing. Q aims for a younger audience of 29 interested in modern music. Circulation and readership data is from industry sources like abc.org.uk, though some estimates like Q's readership lack reliable sources. Mission statements come directly from publisher sites.
Prelude 1 Enjoyment of Music 3rd Ed.
This document contains lecture slides about music appreciation. It introduces the focus of the course as increasing knowledge about music to help attend and understand musical events. It discusses the musical process of creation by composers, interpretation by performers, and response from listeners. Key aspects of musical works like melody, rhythm, and form are examined. Practical tips are provided for attending concerts including different types of performances and proper etiquette. Information needed for opera and ballet is also outlined.
Magazine Evaluation Q2
The document discusses how the magazine Krash attracted and addressed its audience. It set a reasonably low price of £1.90 which attracted readers. The website provided multiple ways for readers to interact with Krash online. The focus on the front cover design was to attract readers' attention in shops and influence their decision to buy. Bright colors and a photo of an artist looking at the reader created a connection. Polls and surveys of the target audience ensured the magazine met readers' expectations.
Prelude 1 Listening to Music Today
This document provides an overview of lecture slides for a music appreciation course. It outlines the focus of the course as increasing knowledge about music to help students participate in and understand musical events. It discusses fundamental concepts like the musical process of creation, interpretation, and response. It also provides practical listening suggestions and etiquette for attending different types of live concerts, operas, and ballets. The slides are from a textbook on music appreciation and cover topics like the materials of music, different types of concerts, and preparing for musical performances.
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Soviet time born Latvian punk: social origins and object of protest
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ACO Music Data & Analysis. The use of statistical data in the humanities is a growing trend. We can see the insights from analysis of 1.6 million book titles from the French Revolution to the First World War. ACO delivers similar insights into 60 years of music history from the 1950s. Data separates the reality from the hype.
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Programa de actos "25 de noviembre 2015"
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The Evolution Of Music.pdf
Music has been around for centuries, and its evolution over time has been fascinating. From its roots in early American history to its contemporary impact on pop culture, music has changed and adapted to the times. In this blog post, we will explore the evolution of music and how it has been shaped by advances in technology and culture. We will look at how music has changed over the years, from the instruments used to the genres that have become popular. By the end of this post, you should have a better understanding of the history of music and how it has shaped the world we live in today.
Musica popular analisis metodo teoria y practica
This document discusses the need for serious academic study of popular music. It begins by summarizing skepticism from publications like The Times and New Musical Express about academics analyzing popular music. It then argues that popular music deserves serious study due to its large sociocultural influence and role in identity formation. The document outlines developments in music technology, media, and culture that require changes in how academics approach music. It proposes a model for popular music analysis that considers social and technological aspects alongside musical content.
The Evolution of Music Genres and Their Influence on Society.pdf
Music has been around since the beginning of time, and it has been evolving ever since. From the early days of classical music to the variety of genres today, music has been a powerful force in shaping societies and cultures around the world.
1 study of popular music 2014(2)
Popular music can be studied academically by defining it, examining why it should be studied as part of higher education, and analyzing its history, production, consumption, and social impact. Key areas of focus include the development of the popular music industry; critiques of mass culture theory which viewed audiences as passive; and sociological analyses of genres like rock music and how they relate to youth culture. Academic study has grown since the 1970s and now includes departments, centers, and methods for analyzing popular music's musical and extramusical elements.
The History Of Western Music
The document provides an overview of the history of Calypso music, including its origins in Venezuela, Trinidad and Tobago in the early 20th century. It traces the roots of Calypso music back to West African Kaiso and the arrival of French planters and their slaves in the 1800s. The first Calypso recording was made in 1914, and the genre became popular internationally last century. Calypso music features lyrics that comment on social and political issues, and were originally used by slaves to make their work pass more quickly.
Music and technology presentation
The document discusses how music technology and sociology are interrelated. It provides a brief history of music technology from the phonograph in the late 1800s to modern digital formats. It argues that technology has greatly influenced how society interacts with music and that understanding these concepts can help people appreciate different musical tastes rather than being critical. The document concludes that appreciating the relationship between music sociology and technology makes it easier to have an open mind about music.
The Popular Music Industry
The document discusses Theodor Adorno's theory on popular music from a Marxist perspective. Adorno criticizes popular music for its standardization, pseudo-individualization, and role as a form of social cement. He argues these characteristics make popular music inferior to serious music. The document then applies Adorno's theory to analyze the popular Disney movie Frozen and its music.
find an online recording of three primary forms of modern music fol.docx
find an online recording of three primary forms of modern music: folk music, popular music and art music (which represents "high culture" in this course). While each of these differs in terms of form, audience, and technology used for recording and transmission, all three have a fundamental role in modern American culture.
Students are expected to comprehend the essential characteristics of each of these three musical forms, find an example of each form, and briefly discuss (in roughly 75 words per example) why each example is an appropriate representation of the musical form.
To be clear, you are
required to accomplish the following
:
Go on the Web and
find examples
of folk music, art (classical) music and popular music.
Your post should contain hyperlinks to your examples and
three 75-word explanations as to why you feel they fit the forms mentioned
. Since these explanations include why the song is an example of the type of music assigned to it, mention some of the characteristics associated with each form.
Here are some abbreviated characteristics of each music form, as described in Oxford Music Online, which contains more lengthy descriptions (it is found within the
CSU-Chico library’s Databases A-Z
).
Art Music
“The story of American art music chronicles the rise of the composer in the United States. At no time have such composers controlled or dominated American concert life, however. Their historical role has been to take Old World practices as a starting point and to complement repertories that are chiefly European with works of their own. Although some 20th-century American composers have opened up fresh artistic territory, art music in America, even into the later years of the 20th century, has continued to revolve around the performance of European classics.”
Folk Music
“This concept has been defined and developed in multiple ways by collectors, scholars and practitioners, within different geographical locations and in different historical periods. Widely used in Europe and the Americas, it has been used both covertly and overtly in the construction and negation of identities in relation to class, nation or ethnicity and continues to be the source of controversy and heated debate. At its root lie questions about the identity and identification of the ‘folk’, the delimitation of musical repertories, how these repertories are transmitted and the assessment of sounds.”
Popular Music
“A common approach to defining popular music is to link popularity with scale of activity. Usually this is measured in terms of consumption, for example by counting sales of sheet music or recordings. Another common approach is to link popularity with means of dissemination, and particularly with the development and role of mass media. It is true that the history of popular music is intimately connected with the technologies of mass distribution (print, recording, radio, film etc.); yet a piece that could be described as ‘popular mus.
Future Producers
Through in-depth interviews this study aims to discover the role that the Internet has played in the creation of the modern hip-hop musician.
Five hip-hop musicians discuss how the Internet plays a vital role in the increased communication between themselves and a larger community, and the newfound ability to take a passion and turn it into a career.
httpwww.jstor.orgMusic on the Move Traditions and Mass.docx
http://www.jstor.org
Music on the Move: Traditions and Mass Media
Author(s): Krister Malm
Source: Ethnomusicology, Vol. 37, No. 3 (Autumn, 1993), pp. 339-352
Published by: University of Illinois Press on behalf of Society for Ethnomusicology
Stable URL: http://www.jstor.org/stable/851718
Accessed: 08/09/2008 17:34
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ETHNOMUSICOLOGY
Music on the Move: Traditions and
Mass Media
KRISTER MALM THE SWEDISH NATIONAL COLLECTIONS OF MUSIC
MUSIKMUSEET, STOCKHOLM
he dissemination of music by mass media had already begun at the start
of this century.1 Due to the restrictive effects of patents regarding
recording and playback hardware, the music industry was limited to a few
companies right from the outset. To sell the hardware these companies also
had to provide the software. The companies soon learned that there was no
music that could be sold to everybody, even in a small nation. They had to
release records with musics of different ethnic groups, geographical areas
and social strata. People would not buy the phonographs and gramophones
unless there was familiar music available to play back on these machines.
This led to a boom of recording activities in all continents.
A basic economic law of mass production reads: the more units of the
same product you can sell, the bigger the profit. This law also applies to the
music industry. It was inevitable that the production of records gradually was
reduced to the kinds of music that could be sold in the biggest market, which
was and still is the United States. This meant a concentration mainly on
United States' popular music styles. Countries outside the big markets in the
United State.
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How Music Changed The Era Of Popular Music
Popular music in the 1960s became the dominant form of popular music and saw many new styles emerge as rock music branched out. Rock music had just been created and was getting very popular, dominating the music charts. The 1960s became a time of peak creativity for rock music, which earned wide respect as a legitimate art form. By the mid-1960s, rock dominated the music industry and remains one of the most important divisions of popular music today.
Global
The document discusses how globalization has impacted the genre of rock music. It explores how styles have blended as music travels faster through digital means. This has led to genre ambiguity as rock incorporates diverse influences. While some see this as threatening rock's authenticity, others argue that music itself enables globalization by communicating complex ideas and emotions across cultures. The homogenization of styles through isomorphism and hybridization has made it difficult to define rock as a genre. However, assessing authenticity based on artistic passion versus commercial motives remains one way to categorize music.
06889 Topic Financial Statement Analysis MemoNumber of Pages.docx
This document provides context about the rise of "world music" as a genre in the late 1980s and early 1990s. It discusses how the term was coined to categorize musical styles from outside Western cultures that did not fit into existing genres. It also analyzes the shifting discourses around authenticity that accompanied the marketing and consumption of world music in the West. Specifically, it describes three forms of authenticity that were important in the late 1980s/early 1990s - authenticity of positionality, emotionality, and primality. However, it notes that by the late 1990s, what was seen as an authentic hybrid sound between non-Western music and Western pop styles was praised. The document examines how musicians and
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From Music Publishing to MP3: Music and Industry in the Twentieth Century
Author(s): Reebee Garofalo
Source: American Music, Vol. 17, No. 3 (Autumn, 1999), pp. 318-354
Published by: University of Illinois Press
Stable URL: http://www.jstor.org/stable/3052666
Accessed: 12-01-2017 22:44 UTC
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted
digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about
JSTOR, please contact [email protected]
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at
http://about.jstor.org/terms
University of Illinois Press is collaborating with JSTOR to digitize, preserve and extend access to
American Music
This content downloaded from 169.231.74.176 on Thu, 12 Jan 2017 22:44:58 UTC
All use subject to http://about.jstor.org/terms
REEBEE GAROFALO
From Music Publishing to MP3:
Music and Industry in the
Twentieth Century
Like any culture industry in a market economy, the role of the music
business is fundamentally to transform its cultural products into
financial rewards. This process, of course, has been significantly in-
fluenced by the technological advances that have determined the pro-
duction, dissemination, and reception of music. To understand the
trajectory of popular music in the twentieth century from its begin-
nings as a nation-based, mass cultural phenomenon to its current state
as part of a global system of interactive, transnational cultural flows,
one must trace the uneven relationship between cultural develop-
ment, technological advancement, professional organization, politi-
cal struggle, and economic power. Since technological advances and
the economic power that drives them have been historically centered
in industrialized nations (primarily Great Britain, Western Europe,
and the United States), these countries have tended to provide the
models for the relationship between popular music and the industry
that produces it. Given that two world wars were fought on Europe-
an soil, with devastating material consequences, at key points in the
development of the mass media, the industrialization of popular
music has been defined disproportionately by the dominant and of-
ten controversial practices of the United States. It is also the case that
the pivotal musical moment of the twentieth century in terms of cul-
tural redefinition and structural change in music industry-the erup-
Reebee Garofalo is a professor at the University of Massachusetts, Boston,
where he has taught since 1978. He has written numerous articles on racism,
censorship, the political uses of music, and the globalization of the music in-
dustry. His most recen ...
183184185186187188.docx
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190
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150
From Music Publishing to MP3: Music and Industry in the Twentieth Century
Author(s): Reebee Garofalo
Source: American Music, Vol. 17, No. 3 (Autumn, 1999), pp. 318-354
Published by: University of Illinois Press
Stable URL: http://www.jstor.org/stable/3052666
Accessed: 12-01-2017 22:44 UTC
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted
digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about
JSTOR, please contact [email protected]
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at
http://about.jstor.org/terms
University of Illinois Press is collaborating with JSTOR to digitize, preserve and extend access to
American Music
This content downloaded from 169.231.74.176 on Thu, 12 Jan 2017 22:44:58 UTC
All use subject to http://about.jstor.org/terms
REEBEE GAROFALO
From Music Publishing to MP3:
Music and Industry in the
Twentieth Century
Like any culture industry in a market economy, the role of the music
business is fundamentally to transform its cultural products into
financial rewards. This process, of course, has been significantly in-
fluenced by the technological advances that have determined the pro-
duction, dissemination, and reception of music. To understand the
trajectory of popular music in the twentieth century from its begin-
nings as a nation-based, mass cultural phenomenon to its current state
as part of a global system of interactive, transnational cultural flows,
one must trace the uneven relationship between cultural develop-
ment, technological advancement, professional organization, politi-
cal struggle, and economic power. Since technological advances and
the economic power that drives them have been historically centered
in industrialized nations (primarily Great Britain, Western Europe,
and the United States), these countries have tended to provide the
models for the relationship between popular music and the industry
that produces it. Given that two world wars were fought on Europe-
an soil, with devastating material consequences, at key points in the
development of the mass media, the industrialization of popular
music has been defined disproportionately by the dominant and of-
ten controversial practices of the United States. It is also the case that
the pivotal musical moment of the twentieth century in terms of cul-
tural redefinition and structural change in music industry-the erup-
Reebee Garofalo is a professor at the University of Massachusetts, Boston,
where he has taught since 1978. He has written numerous articles on racism,
censorship, the political uses of music, and the globalization of the music in-
dustry. His most recen.
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183
184
185
186
187
188
189
190
145
146
147
148
149
150
From Music Publishing to MP3: Music and Industry in the Twentieth Century
Author(s): Reebee Garofalo
Source: American Music, Vol. 17, No. 3 (Autumn, 1999), pp. 318-354
Published by: University of Illinois Press
Stable URL: http://www.jstor.org/stable/3052666
Accessed: 12-01-2017 22:44 UTC
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted
digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about
JSTOR, please contact [email protected]
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at
http://about.jstor.org/terms
University of Illinois Press is collaborating with JSTOR to digitize, preserve and extend access to
American Music
This content downloaded from 169.231.74.176 on Thu, 12 Jan 2017 22:44:58 UTC
All use subject to http://about.jstor.org/terms
REEBEE GAROFALO
From Music Publishing to MP3:
Music and Industry in the
Twentieth Century
Like any culture industry in a market economy, the role of the music
business is fundamentally to transform its cultural products into
financial rewards. This process, of course, has been significantly in-
fluenced by the technological advances that have determined the pro-
duction, dissemination, and reception of music. To understand the
trajectory of popular music in the twentieth century from its begin-
nings as a nation-based, mass cultural phenomenon to its current state
as part of a global system of interactive, transnational cultural flows,
one must trace the uneven relationship between cultural develop-
ment, technological advancement, professional organization, politi-
cal struggle, and economic power. Since technological advances and
the economic power that drives them have been historically centered
in industrialized nations (primarily Great Britain, Western Europe,
and the United States), these countries have tended to provide the
models for the relationship between popular music and the industry
that produces it. Given that two world wars were fought on Europe-
an soil, with devastating material consequences, at key points in the
development of the mass media, the industrialization of popular
music has been defined disproportionately by the dominant and of-
ten controversial practices of the United States. It is also the case that
the pivotal musical moment of the twentieth century in terms of cul-
tural redefinition and structural change in music industry-the erup-
Reebee Garofalo is a professor at the University of Massachusetts, Boston,
where he has taught since 1978. He has written numerous articles on racism,
censorship, the political uses of music, and the globalization of the music in-
dustry. His most recen.
183184185186187188
183
184
185
186
187
188
189
190
145
146
147
148
149
150
From Music Publishing to MP3: Music and Industry in the Twentieth Century
Author(s): Reebee Garofalo
Source: American Music, Vol. 17, No. 3 (Autumn, 1999), pp. 318-354
Published by: University of Illinois Press
Stable URL: http://www.jstor.org/stable/3052666
Accessed: 12-01-2017 22:44 UTC
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted
digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about
JSTOR, please contact [email protected]
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at
http://about.jstor.org/terms
University of Illinois Press is collaborating with JSTOR to digitize, preserve and extend access to
American Music
This content downloaded from 169.231.74.176 on Thu, 12 Jan 2017 22:44:58 UTC
All use subject to http://about.jstor.org/terms
REEBEE GAROFALO
From Music Publishing to MP3:
Music and Industry in the
Twentieth Century
Like any culture industry in a market economy, the role of the music
business is fundamentally to transform its cultural products into
financial rewards. This process, of course, has been significantly in-
fluenced by the technological advances that have determined the pro-
duction, dissemination, and reception of music. To understand the
trajectory of popular music in the twentieth century from its begin-
nings as a nation-based, mass cultural phenomenon to its current state
as part of a global system of interactive, transnational cultural flows,
one must trace the uneven relationship between cultural develop-
ment, technological advancement, professional organization, politi-
cal struggle, and economic power. Since technological advances and
the economic power that drives them have been historically centered
in industrialized nations (primarily Great Britain, Western Europe,
and the United States), these countries have tended to provide the
models for the relationship between popular music and the industry
that produces it. Given that two world wars were fought on Europe-
an soil, with devastating material consequences, at key points in the
development of the mass media, the industrialization of popular
music has been defined disproportionately by the dominant and of-
ten controversial practices of the United States. It is also the case that
the pivotal musical moment of the twentieth century in terms of cul-
tural redefinition and structural change in music industry-the erup-
Reebee Garofalo is a professor at the University of Massachusetts, Boston,
where he has taught since 1978. He has written numerous articles on racism,
censorship, the political uses of music, and the globalization of the music in-
dustry. His most recen ...
183184185186187188
183
184
185
186
187
188
189
190
145
146
147
148
149
150
From Music Publishing to MP3: Music and Industry in the Twentieth Century
Author(s): Reebee Garofalo
Source: American Music, Vol. 17, No. 3 (Autumn, 1999), pp. 318-354
Published by: University of Illinois Press
Stable URL: http://www.jstor.org/stable/3052666
Accessed: 12-01-2017 22:44 UTC
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted
digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about
JSTOR, please contact [email protected]
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at
http://about.jstor.org/terms
University of Illinois Press is collaborating with JSTOR to digitize, preserve and extend access to
American Music
This content downloaded from 169.231.74.176 on Thu, 12 Jan 2017 22:44:58 UTC
All use subject to http://about.jstor.org/terms
REEBEE GAROFALO
From Music Publishing to MP3:
Music and Industry in the
Twentieth Century
Like any culture industry in a market economy, the role of the music
business is fundamentally to transform its cultural products into
financial rewards. This process, of course, has been significantly in-
fluenced by the technological advances that have determined the pro-
duction, dissemination, and reception of music. To understand the
trajectory of popular music in the twentieth century from its begin-
nings as a nation-based, mass cultural phenomenon to its current state
as part of a global system of interactive, transnational cultural flows,
one must trace the uneven relationship between cultural develop-
ment, technological advancement, professional organization, politi-
cal struggle, and economic power. Since technological advances and
the economic power that drives them have been historically centered
in industrialized nations (primarily Great Britain, Western Europe,
and the United States), these countries have tended to provide the
models for the relationship between popular music and the industry
that produces it. Given that two world wars were fought on Europe-
an soil, with devastating material consequences, at key points in the
development of the mass media, the industrialization of popular
music has been defined disproportionately by the dominant and of-
ten controversial practices of the United States. It is also the case that
the pivotal musical moment of the twentieth century in terms of cul-
tural redefinition and structural change in music industry-the erup-
Reebee Garofalo is a professor at the University of Massachusetts, Boston,
where he has taught since 1978. He has written numerous articles on racism,
censorship, the political uses of music, and the globalization of the music in-
dustry. His most recen ...
About Evolution of musical sounds by Vincent Rabiola
Vincent Rabiola is a songwriter, singer, scriptwriter, director, actor, etc. He has driven, a team player, motivated, and love working in a creative environment.
Similar to ACO Music Data & Analysis: interdisciplinary stuies, converting information to knowledge (20)
The Evolution of Music Genres and Their Influence on Society.pdf
The Evolution of Music Genres and Their Influence on Society.pdf
find an online recording of three primary forms of modern music fol.docx
find an online recording of three primary forms of modern music fol.docx
httpwww.jstor.orgMusic on the Move Traditions and Mass.docx
httpwww.jstor.orgMusic on the Move Traditions and Mass.docx
06889 Topic Financial Statement Analysis MemoNumber of Pages.docx
06889 Topic Financial Statement Analysis MemoNumber of Pages.docx
About Evolution of musical sounds by Vincent Rabiola
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HOW TO START UP A COMPANY A STEP-BY-STEP GUIDE.pdf
How to Start Up a Company: A Step-by-Step Guide Starting a company is an exciting adventure that combines creativity, strategy, and hard work. It can seem overwhelming at first, but with the right guidance, anyone can transform a great idea into a successful business. Let's dive into how to start up a company, from the initial spark of an idea to securing funding and launching your startup.
Introduction
Have you ever dreamed of turning your innovative idea into a thriving business? Starting a company involves numerous steps and decisions, but don't worry—we're here to help. Whether you're exploring how to start a startup company or wondering how to start up a small business, this guide will walk you through the process, step by step.
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一比一原版新西兰奥塔哥大学毕业证（otago毕业证）如何办理
一模一样【微信：A575476】【新西兰奥塔哥大学毕业证（otago毕业证）成绩单Offer】【微信：A575476】（留信学历认证永久存档查询）采用学校原版纸张、特殊工艺完全按照原版一比一制作（包括：隐形水印，阴影底纹，钢印LOGO烫金烫银，LOGO烫金烫银复合重叠，文字图案浮雕，激光镭射，紫外荧光，温感，复印防伪）行业标杆！精益求精，诚心合作，真诚制作！多年品质 ,按需精细制作，24小时接单,全套进口原装设备，十五年致力于帮助留学生解决难题，业务范围有加拿大、英国、澳洲、韩国、美国、新加坡，新西兰等学历材料，包您满意。
【业务选择办理准则】
一、工作未确定，回国需先给父母、亲戚朋友看下文凭的情况，办理一份就读学校的毕业证【微信：A575476】文凭即可
二、回国进私企、外企、自己做生意的情况，这些单位是不查询毕业证真伪的，而且国内没有渠道去查询国外文凭的真假，也不需要提供真实教育部认证。鉴于此，办理一份毕业证【微信：A575476】即可
三、进国企，银行，事业单位，考公务员等等，这些单位是必需要提供真实教育部认证的，办理教育部认证所需资料众多且烦琐，所有材料您都必须提供原件，我们凭借丰富的经验，快捷的绿色通道帮您快速整合材料，让您少走弯路。
留信网认证的作用:
1:该专业认证可证明留学生真实身份
2:同时对留学生所学专业登记给予评定
3:国家专业人才认证中心颁发入库证书
4:这个认证书并且可以归档倒地方
5:凡事获得留信网入网的信息将会逐步更新到个人身份内，将在公安局网内查询个人身份证信息后，同步读取人才网入库信息
6:个人职称评审加20分
7:个人信誉贷款加10分
8:在国家人才网主办的国家网络招聘大会中纳入资料，供国家高端企业选择人才
→ 【关于价格问题（保证一手价格）
我们所定的价格是非常合理的，而且我们现在做得单子大多数都是代理和回头客户介绍的所以一般现在有新的单子 我给客户的都是第一手的代理价格，因为我想坦诚对待大家 不想跟大家在价格方面浪费时间
对于老客户或者被老客户介绍过来的朋友，我们都会适当给一些优惠。
选择实体注册公司办理，更放心，更安全！我们的承诺：可来公司面谈，可签订合同，会陪同客户一起到教育部认证窗口递交认证材料，客户在教育部官方认证查询网站查询到认证通过结果后付款，不成功不收费！
Understanding User Needs and Satisfying Them
https://www.productmanagementtoday.com/frs/26903918/understanding-user-needs-and-satisfying-them
We know we want to create products which our customers find to be valuable. Whether we label it as customer-centric or product-led depends on how long we've been doing product management. There are three challenges we face when doing this. The obvious challenge is figuring out what our users need; the non-obvious challenges are in creating a shared understanding of those needs and in sensing if what we're doing is meeting those needs.
In this webinar, we won't focus on the research methods for discovering user-needs. We will focus on synthesis of the needs we discover, communication and alignment tools, and how we operationalize addressing those needs.
Industry expert Scott Sehlhorst will:
• Introduce a taxonomy for user goals with real world examples
• Present the Onion Diagram, a tool for contextualizing task-level goals
• Illustrate how customer journey maps capture activity-level and task-level goals
• Demonstrate the best approach to selection and prioritization of user-goals to address
• Highlight the crucial benchmarks, observable changes, in ensuring fulfillment of customer needs
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How are Lilac French Bulldogs Beauty Charming the World and Capturing Hearts....
“After being the most listed dog breed in the United States for 31
years in a row, the Labrador Retriever has dropped to second place
in the American Kennel Club's annual survey of the country's most
popular canines. The French Bulldog is the new top dog in the
United States as of 2022. The stylish puppy has ascended the
rankings in rapid time despite having health concerns and limited
color choices.”
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MJ Global's success in staying ahead of the curve in the packaging industry is a testament to its dedication to innovation, sustainability, and customer-centricity. By embracing technological advancements, leading in eco-friendly solutions, collaborating with industry leaders, and adapting to evolving consumer preferences, MJ Global continues to set new standards in the packaging sector.
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This session provided an update as to the latest valuation data in the UK and then delved into a discussion on the upcoming election and the impacts on valuation. We finished, as always with a Q&A
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ACO Music Data & Analysis: interdisciplinary stuies, converting information to knowledge
- 1. A resource for Multidisciplinary Study in the Humanities and Social Sciences Converting Information to Knowledge
- 2. New! Use of Statistics in the Humanities and Social Sciences ACO Music Data & Analysis is built to tell the story of music and society over the last 60 years. Using revolutionary statistical analysis, for the first time researchers will find evidence to test and demonstrate their theories about the impact of music on society and vice versa. Authoritative data sources enable assessment of the impact of music – superimposition of different artists in different countries reveals what actually happened.
- 3. Benefits: turning information into knowledge Music Data Authoritative data measuring relative success of different artists, bands, songs and albums can be exported in spreadsheets for further analysis. Social Sciences frequently rely on interpretation. Now for the first time users can see the actual relative sales of artists and albums in multiple countries to derive knowledgeable insights. Analysis The graphic results reveal what really happened. Analysis delivers insights and turns the information into knowledge. - Which musicians had the greatest impact in each decade? - Which classical performers had most impact with Beethoven? - Did a band get a boost from the Grammys? - How do musical trends travel across the world? - What other music was prominent at the time of Bridge Over Troubled Water but is now forgotten?
- 4. Cross Disciplinary Study Music is a driver of social trends. Data without analysis is just a bucket of data! ACO uses the relative performance of music to tell the story of its impact. The actual story, rather than the hype... There is great interest in how music actually succeeds when the hype is separated from the reality. This is only possible through analysis of the data. Customers are using ACO across these disciplines - Cultural Studies - Modern History - Entertainment and Media - Business - Music and entertainment industry - Film Studies - Humanities and Social Sciences
- 5. Derive Insights Modern History Study the impact of protest songs during the Vietnam war in the modern history department. Classical – music business See which of Lang Lang's albums had the greatest impact – Chopin or Liszt Social Studies – the rise of grunge rock Analyse when Nirvana overtook Michael Jackson in the early 90s and which other influences were prominent
- 6. Turn information into knowledge about the industry and social trends Trends across countries In addition to North America (USA and Canada) now includes data from UK and Central Europe (Germany, Switzerland, Austria) and Asia being added next. Most of the archival data is not available on websites. As ACO grows cross cultural issues come into clearer focus. The British invasion of America in the 1960's
- 7. Cross Disciplinary relevance: Music has a very wide impact Music research needs to be grounded in information (not a hunch...) “...will make many music librarians wonder how we got by without it until now.” (MLA Review) …but the data increasingly takes on relevance in other disciplines - any serious music, entertainment business, cultural studies and modern history course will need ACO to attract the best students. “Introduces fascinating research questions which could not be answered before.” (University of Western Ontario) “Any curious researcher exploring music and culture will find a fascinating trove of information here.” Booklist
- 8. For the first time researchers can use a powerful tool to answer research questions. Replace hype and 'gut feel' with data & analysis. Convert the information to knowledge. “Time saving - what takes a day of picking through the books takes a minute in ACO.” (LCCM)