Thèses sur le sujet « ITunesU »

L’attività di dottorato si inserisce all’interno di un progetto dell’Università di Siena del 2012 che prevedeva la progettazione e l’implementazione di una piattaforma a supporto dell’attività didattica e dell’attività di orientamento, la progettazione di un format “mobile” (da utilizzarsi per la progettazione del corso), la valutazione dell’apprendimento utilizzando il format progettato, l’implementazione di un corso mobile prototipale. All’interno di questo progetto l’autore: ha collaborato alla progettazione e all’implementazione della piattaforma, ha prodotto diversi contenuti multimediali (attualmente 36 collezioni e 499 contenuti), ha progettato un format per la fruizione di contenuti didattici in mobilità (definito nella tesi format “USiena”), ha analizzato i format utilizzati dalle prime quindici università al mondo presenti su iTunesU, sempre nell’ottica di una fruizione di contenuti in mobilità (definiti nella tesi format “Sparring”), ha prodotto ventinove moduli prototipali (utilizzati nelle sperimentazioni), ha provveduto a valutare l’apprendimento utilizzando il format progettato, comparando l’acquisizione della conoscenza da parte dei discenti sulla base dei vari format analizzati in precedenza (“USiena” vs. “Sparring”).

Seit 2007 wird an der Sächsischen Landesbibliothek – Staats- und Universitätsbibliothek Dresden (SLUB) in großem Umfang Schriftgut digitalisiert. Neben Manuskripten, Drucken und Zeitschriften verfügt die SLUB über bedeutende Bestände anderer Sondermaterialien, die sie ebenfalls digital bereitstellt, etwa über die Online- Datenbank der Deutschen Fotothek oder das Virtuelle Kartenforum. Im gerade beendeten DFG-Projekt „Archiv der Stimmen“ hat die SLUB nun erstmals auch eine umfangreiche Menge historischer Tonträger digitalisiert. Rund 16.000 Aufnahmen, die auf 8.500 Schellackplatten aus der Zeit zwischen 1896 und 1960 enthalten sind, stehen in der Digitalen Mediathek der SLUB zum kostenlosen Anhören und zum Download bereit. So manche Musikbegeisterte werden sofort hellhörig, wenn sie von „freiem Streaming“ und „Down-load-Möglichkeiten“, also Alternativen zu großen kommerziellen Anbietern erfahren. Wie kommt es aber, dass ausgerechnet eine wissenschaftliche Bibliothek eine „Download-Plattform“ für Musik zur Verfügung stellt?

Submitted by Silvana Teresinha Dornelles Studzinski (sstudzinski) on 2016-04-01T16:32:02Z No. of bitstreams: 1 CHAIANE THIESEN BITELO_.pdf: 15335883 bytes, checksum: 3419aa495111d045594418a167de204f (MD5)
Made available in DSpace on 2016-04-01T16:32:02Z (GMT). No. of bitstreams: 1 CHAIANE THIESEN BITELO_.pdf: 15335883 bytes, checksum: 3419aa495111d045594418a167de204f (MD5) Previous issue date: 2011-04-04
Nenhuma
Este estudo tem por objetivo entender as relações de significação existentes nas experiências vividas pelos usuários diante da presença de propriedades midiáticas nas interfaces do aplicativo iTunes. A partir da perspectiva do Design Estratégico, compreende-se o objeto iTunes como parte de um sistema-produto e se busca uma angulação teórico-metodológica com contribuições e tensionamentos oriundos do campo da Comunicação e do Design de Interfaces através da área de UX - User Experience. O método adotado estabeleceu a coleta de dados em torno do objeto iTunes a partir de dois observáveis: interfaces e sujeitos. A análise se desenvolveu a partir dos cruzamentos teórico-metodológicos com os resultados da coleta nas interfaces e da coleta com os sujeitos. Os resultados demonstraram, primeiramente, a importância do olhar do Design Estratégico sob as interfaces digitais, especialmente a partir do conceito de sistema-produto. Com o objeto iTunes, ficou evidenciado a relevância da identificação das relações de significação estabelecidas pelos sujeitos nas interfaces digitais, a fim de buscar uma compreensão mais ampla do usuário contemporâneo, principalmente por meio da composição teórico-metodológica formada pelas áreas de Design Estratégico, UX e Comunicação para observar o usuário.
This study aims to understand the relationships of significance that exist in users' experiences with iTunes interface, a aplication with media properties. With the perspective of Strategic Design, the goal is to understand the research object, the iTunes, as a part of a system-product. In line with this, an intersection theory and methodology of the Area of Communication and Design Interface UX - User Experience seeks to contribute to the proposed study. The methodological procedures were performed in two stages around the study’s object: observations of interfaces, and interviews with users. The results demonstrated, first, the importance of Strategic Design’s look under the digital interfaces, especially from the concept of system-product. With the iTunes, evidenced the importance of identifying the relationships of significance established by the users at the digital interfaces. This enabled the understanding about contemporary users, mainly through the composition formed by the theoretical and methodological areas of Strategic Design, UX and Communication to observe the user.

This qualitative multi-case study examined the instructional design and development processes utilized by instructional designers and designers by assignment in higher education that created mobile learning for iTunes U delivery. Current research into the instructional design practices for mobile learning delivery leaves a gap in the literature. This study aimed to identify the instructional design and development processes specific to mobile learning delivery within iTunes U. Ten participants from higher education were purposively selected for participation in the study. Each of the 10 participants met the selection criteria; participants designed or served on a design team that created an iTunes U course for a higher education audience. Five of the participants were instructional designers and the other five were instructional designers by assignment. Data was collected from three sources including the participants' iTunes U courses, sample model designs or processes, and in-depth participant interviews. The study identifies instructional strategies, instructional design processes, advantages, and constraints of instructional design and development for mobile learning through iTunes U delivery. Included in the findings is a design and development model for instructional design of mobile learning through iTunes U.

Mobile applications stores such as Apple’s App Store and Google’s Android Market revolutionized the distribution of applications for mobile devices. However, with thousands of application submissions, limited testing resources and the lack of an effective filtering mechanism, application stores suffer from information overload and a risk of releasing poor quality applications that could create confusion to consumers and may seriously affect the App store markets. Thus concern has been raised whether applications have been developed according to the need and interest of consumers. Therefore, the purpose of this study was mainly to identify and get insight into the main factors that mobile application consumer takes into consideration when purchasing mobile applications from the desktop iTunes App Store and the mobile App Store on the iOS devices: iPhone, iPad and iPod Touch. In this study both qualitative and quantitative case study approach was used. Accordingly twelve participants were selected from Stockholm and Uppsala area and their behaviour in the Apple’s App Store from the desktop iTunes and the mobile App Store on iOS devices was observed and recorded. Additionally questionnaires were administered to all participants in order to gather the necessary information. Consumers on the App Store behave differently depending on the unit they are using. This is because applications on the App Store are presented differently in the desktop iTunes App Store and the mobile App Store on the iOS devices. The study shows that young consumers with lower income purchase apps more frequently than the consumers with higher income. It also shows that consumers often consider the description, the screenshots, and the ratings when they are interested in buying applications. Furthermore consumers take a look more on ratings in the list on the iPhone and iPad App Store because the ratings are not shown in the list on the iTunes App Store. Similarly consumers tend to read the customer reviews more on the iTunes and iPad App Store as the customer reviews on the iPhone App Store is displayed in another page. Consumers were found to be more attracted by visual elements that they are already familiarized with, apps with famous logos and known fonts and styles but also to coherent and descriptive app names and strong colors (i.e. red, green, yellow, black and blue, respectively). The majority of the participants found the iTunes App Store messy and cumbersome to use. They preferred using the iPad App Store because they found it to be a good mixture of both iTunes and iPhone App Store but also because it has more options to consider. Although consumers behave differently depending on the unit they are using, the visual element of the apps, prior knowledge of consumers about the name of the apps, ratings, easy accessibility of screenshots and customer reviews of the apps were found to be the main factors to be considered by consumers when they visit app stores for purchase. Thus application developers and digital magazine publishers should consider these consumer behaviours in order to influence more downloads and successfully sell apps on the app stores.

This thesis identifies Australia’s place in the worldwide recorded music industries and seeks the reasons behind the delays of launches in Australia of online music services. It concludes that while there is no clear cut answer to this question, there is considerable tension between the parties involved and a clear opportunity for the review of Australia’s copyright law. Constantly shifting and dynamic, the recorded music industries in Australia and worldwide have been in a state of flux since the turn of the millennium and the democratisation of music distribution.

Purpose/Aim: The purpose of this thesis is to define and analyse how Swedish record companies work with digital musical content distributors. A more narrow aim is to show how the record companies and with the digital musical content distributors iTunes Music Store and Spotify create incentives for consumer’s to use legal digital music channels through the Internet. To further circle the core of the problem following questions have been asked: How does the record companies provide iTunes Music Store and Spotify with digital content and what is done by the record companies to retain control over the material? How do the record companies view digital musical sales and what incentives are given to consumers to buy music digitally? Finally, What position of power do iTunes Music Store and Spotify have on the digital content arena?

Material/Method: The data collected for this thesis is retrieved through personal interviews with representatives from three of the four major record companies Universal Music, Warner Music and EMI and their Swedish branches.

Main results: The consumer’s access to digital content through iTunes Music Store and Spotify is of the utmost importance and is a prerequisite. Even if the record companies choose to not demand DRM protection on their products it does not stop Apple from keeping their Fairplay protection. In this way Apple is the company controlling the files, even if the Record Companies have made their decision based on research, which has shown that sales go down if the music files are DRM protected. The record companies have chosen not to get involved with the sales of digital content. This results in power being shifted to E-tailers such as iTunes Music Store and Spotify. The incentives the consumers are given to buy music digitally are found in the surplus value, which is supported by iTunes Music Store and Spotify. These surplus values are such services as recommendations of music or artists. Different packaging solutions, such as subscriptions through an Internet provider, do not raise the value of the music. The value is added to the Internet provider’s products and not the music, but they do guarantee a steady income for the record companies.

Dissertação (mestrado)—Universidade de Brasília, Departamento de Música, 2010.
Submitted by wiliam de oliveira aguiar (wiliam@bce.unb.br) on 2011-06-20T16:38:48Z No. of bitstreams: 1 2010_MarceloCarvalhodeOliveira.pdf: 3128375 bytes, checksum: a37ac89aaca22bc978bdc8e61cca5397 (MD5)
Approved for entry into archive by Raquel Viana(tempestade_b@hotmail.com) on 2011-06-20T16:58:14Z (GMT) No. of bitstreams: 1 2010_MarceloCarvalhodeOliveira.pdf: 3128375 bytes, checksum: a37ac89aaca22bc978bdc8e61cca5397 (MD5)
Made available in DSpace on 2011-06-20T16:58:14Z (GMT). No. of bitstreams: 1 2010_MarceloCarvalhodeOliveira.pdf: 3128375 bytes, checksum: a37ac89aaca22bc978bdc8e61cca5397 (MD5)
Este trabalho é um estudo da forma como as inovações tecnológicas introduzidas e popularizadas a partir do final da década de 1990 têm interferido na produção fonográfica atual. Definimos o termo produção fonográfica (MARTIN, 2002) como o processo utilizado com a finalidade de transformar concepções artísticas e idéias lítero-musicais em fonogramas, que por sua vez são a incorporação da criação musical por meio da gravação em um suporte físico. Para melhor observar o universo de nossa pesquisa, decidimos focar no selo GRV Discos, de Brasília, e delimitar o alcance do estudo à primeira década do século XXI. A empresa escolhida atua também como editora musical, produtora de eventos e agência de empresariamento artístico – local, nacional e internacionalmente –, estando deste modo no centro de um sistema de produção fonográfica. Os músicos têm hoje à disposição recursos tecnológicos que possibilitam a realização de suas idéias musicais com rapidez, economia e qualidade inimagináveis em décadas passadas. Ao mesmo tempo, esses processos tornam difusas as fronteiras entre emissor e receptor da comunicação musical, ensejando o culto ao amadorismo na música e impondo novos desafios à atividade do músico profissional. Avaliamos o impacto das inovações tecnológicas no conceito de propriedade intelectual e as conseqüências econômicas e culturais desse fenômeno, de modo a compreender como as mudanças ocorridas na forma de se ouvir música – e, em sentido mais amplo, de se fruir música, como ―ritual, representação, reprodução e composição‖, de acordo com a definição de Attali (1985) – têm influenciado mudanças nas formas de se produzir música. _______________________________________________________________________________ ABSTRACT
This is a study of how the technological innovations introduced and popularized towards the end of the 1990s decade have affected present day phonographic production. We define this term as the process of turning musical concepts and ideas into sound recordings (Martin 2002), which in turn are incorporations of such musical compositions on a physical medium. To set the scope of our research we have decided to focus on the music label GRV Discos — from Brazil‘s capital city, Brasília — in the first decade of 21st century. The focused company, operating as a record label, music publisher, shows promoter and artist management agency — locally, nationally and internationally — is thus at the heart of a music production system. Musicians today have at their disposal technological resources which enable the realization of their musical ideas with speed, economy and quality unimaginable in decades past. At the same time, these new tools also help blur the boundaries between source and target in musical communication, allowing for the cult of amateurism (Keen 2007) in music production and posing new challenges to the professional musician. We assess the impact of technology on the concept of intellectual property, with economic and cultural consequences, in order to try and understand how changes in the ways of listening to music — and, more broadly, to enjoy music as ―ritual, representation, reproduction and composition,‖ according Attali‘s (1985) definition — have influenced changes in the ways of producing music.

In 2007, Radiohead released a downloadable album, In Rainbows, allowing consumers to pay what they thought the album was worth. The band responded to a moment of change in the music industry. Since then, other bands, like Nine Inch Nails and Coldplay, have made similar moves. Radiohead's capability to release an album and let the fans decide its worth relied on the image they built, which foregrounded their commodification. The historic move redefined the boundaries between art and commodity, a well know tension in popular music studies. The thesis focuses on popular music as communication in the changing industry. Using Radiohead’s album as a case study, it looks at the changing boundaries in the tension between art and commodity. The thesis examines Radiohead's performance, its mediation by the press, and what the album’s distribution method meant to the fans.

New digital distribution and value capture models have emerged on the global music industry scene in the last ten years. These models are highly dependent on a strong underlying communications and broadband internet infrastructure which is largely present in most developed markets. South Africa, however, is a developing country whose broadband infrastructure is still nascent and not as widely available or accessible. Due to the permeation of mobile technology, most broadband internet access is likely to occur through the mobile networks in most developing markets. This stands in stark contrast to developed markets where broadband internet access occurs primarily via fixed line infrastructure with mobile as a secondary option.This research set out to investigate whether digital value distribution and value capture models which succeeded in developed countries would be suitable for the South African music industry given the broadband infrastructure constraints and the different internet access methodologies prevalent in this developing market. This research employed an exploratory research methodology in order to investigate this question and found that a mixture of value distribution and value capture models would address the entire market requirement, with mobile-centric digital distribution models being most suitable for mass market deployment.
Dissertation (MBA)--University of Pretoria, 2012.
Gordon Institute of Business Science (GIBS)
unrestricted

Domination in the software application industry has been an issue since its early years. But how do these situations of market domination come into existence? This thesis discusses conventional approaches towards understanding market domination and their inherent weaknesses. As a result a new understanding, based on Actor-Network-Theory and Capital Theory unfolds, which achieves the uncovering of a much deeper complexity on how market domination comes into existence.

Syftet med det examensarbete som genomförts har varit att kartlägga processen för att på egen hand lansera sin musik i form av ett fullängdsalbum tillgängligt att köpas både i form av digitala nedladdningar och som traditionell CD-skiva.

I arbetet har vi bekantat oss med viktiga aspekter angående distributionsavtal, upphovsrätt, marknadsföring, design, foto, logotyper, texter och koder man bör känna till. En stor del av arbetet har även ägnats åt att förklara och utreda den sista delen i ljudbearbetningen - mastring. Dessutom har vi satsat på marknadsförning och exponering på Internet samt olika betalningslösningar som möjliggör skivans försäljning.

För att erhålla de nödvändiga delarna i arbetsprocessen har kontakt upprättats med bland andra: IFPI, Grammotex, N©B och Dicentia.

I rapporten får vi följa den progressiva rockgruppen Cap Outrun och deras väg till målet i form av en fallstudie.

Questo lavoro intende dimostrare in quali modi e tramite quali strumenti la produzione di videoclip sia cambiata nel corso degli anni attraverso le sue trasformazioni nei campi della distribuzione, della legislazione e dei finanziamenti al videoclip. Comprendere cosa voglia dire oggi produrre un videoclip significa constatare come questi tre macro-argomenti abbiano influenzato, secondo diverse sfaccettature, i budget e gli investimenti monetari da parte delle case discografiche. Inoltre, non si vuole dare un giudizio sulla natura stilistica dei videoclip o fare una critica su quelli che stilisticamente si avvicinano a una bellezza cinematografica, ma affermare che una buona produzione e un discreto budget, uniti a una buona collocazione distributiva e l’uso di finanziamenti pubblici e privati, può far sì che il videoclip sia ancora un mezzo remunerativo, sia a livello economico sia a livello di immagine dell’artista. L’obiettivo principale, quindi, del videoclip è riferito alla sua funzione sociale e non alla finalità economica; l’engagement tra artista e audiece non comporta un ritorno ecnomico, ma un guadagno sociale, di immagine e di fidelizzazione perché un’artista, che sia un cantante, un attore o un qualsiasi performer nell’industria dell’entertainment, è possibile assimilarlo a un brand, a un’azienda che ha bisogno di “fedeli seguaci” che supportino il prodotto, il quale, in questi casi, coincide con la persona stessa.

L’attività di dottorato si inserisce all’interno di un progetto dell’Università di Siena del 2012 che prevedeva la progettazione e l’implementazione di una piattaforma a supporto dell’attività didattica e dell’attività di orientamento, la progettazione di un format “mobile” (da utilizzarsi per la progettazione del corso), la valutazione dell’apprendimento utilizzando il format progettato, l’implementazione di un corso mobile prototipale. All’interno di questo progetto l’autore: ha collaborato alla progettazione e all’implementazione della piattaforma, ha prodotto diversi contenuti multimediali (attualmente 36 collezioni e 499 contenuti), ha progettato un format per la fruizione di contenuti didattici in mobilità (definito nella tesi format “USiena”), ha analizzato i format utilizzati dalle prime quindici università al mondo presenti su iTunesU, sempre nell’ottica di una fruizione di contenuti in mobilità (definiti nella tesi format “Sparring”), ha prodotto ventinove moduli prototipali (utilizzati nelle sperimentazioni), ha provveduto a valutare l’apprendimento utilizzando il format progettato, comparando l’acquisizione della conoscenza da parte dei discenti sulla base dei vari format analizzati in precedenza (“USiena” vs. “Sparring”).

碩士
國立臺灣大學
經濟學研究所
94
This article is about the formation and properties of the new digital music industry, and a theoretical model in which the interaction between online music store and record label is analyzed. By unbundling songs, online music stores create new profit potentials for the music industry, which can only rely on sales of album. The use of Digital Rights Management (DRM) technologies, however, makes iPods a channel for selling music (singles) online. And Apple Computer, Inc., with controls on iPods, becomes a music retailer with strong bargaining power. Due to the structure of industry, price of CDs serves as a tool for securing profits when the record labels have insufficient bargaining power, the increase of which will cause adjustment in CD prices and shift of sales from brick-and-mortar stores to online music stores, with the shrinkage in online music stores’ profit and consumer welfare, and an increase in labels’ profit. Besides, if the album is oriented to the mass, the threshold for labels’ licensing of music to online music stores is higher than if the album is focused on specific groups in the population.

碩士
國立臺灣大學
國際企業學研究所
95
In a fast changing and hypercompetitive environment, such as the one in the information and communication technology (ICT) industry, technological discontinuities may create new product categories. As technology evolves, a single product design may achieve market dominance which leads to the establishment of a dominant design. A firm’s capability in creating and ensuring its technology to become a dominant design is critical to its long-term competitiveness and profitability in a dynamic landscape like the ICT industry. There are two main streams of research in the dominant design literature; one focuses on the evolution of a dominant design while the other one emphasizes on the external factors facilitating the formation of a dominant design. Based upon these two streams of research and borrowing from the work of Anderson and Tushman (1990) and Suaréz (2004), we suggest an initial framework for case exploration. The main purpose of the present case study is to examine the emergence and evolution of iPod-iTunes'' becoming a dominant design in the digital music industry, from which we will discuss the strategic implications of Apple’s releasing DRM-free music in April 2007. Taking this foundation into consideration and exploring the evolution and diffusion of iPod-iTunes model as a focal case, the present research suggests a comprehensive framework encompassing the concept of ecosystem and interdependence among different levels of factors to explain the emergence and evolution of dominant design in new product category. Implications to practitioners who intend to create products with dominant design potentials are discussed.

碩士
國立屏東科技大學
資訊管理系所
103
The music industry has dramatically changed in recent years. Especially in the file format for accessing the music methods are obviously different. In the meantime, digital music can take away by multimedia equipment which has already broken the traditional business model. Meanwhile, consumers begin to decrease their willing to purchase the physical albums. Therefore, the music industry is facing the decrease the sales dramatically which cause the crisis of revenues. On the one hand, they suited to the copyright infringement of digital music platform. On the other hand, many companies also seek aggressively for the legal business model. Based on above discussion, that causes the change of the value chains and increases the competitive advantages. First of all, this study focuses on KKBOX and iTunes as research targets. We adopt the resources based theory to review the intangible and tangible assets and use the strategic network theory to examine the alliance across industries. Most important of all, this study not only interviewed some key mangers of KKBOX and senior researchers of Institute for information industry (III), but also consolidated the important secondary materials. Therefore, we include some critical successful factors. In the nutshells, the critical successful factors of digital music platform can consolidate as below. First of all, it has to provide user friendly interface and excellent services. Secondly, it must care and emphasis on customers experience. Thirdly, it must recruit outstanding talents to create the brand value. Next, it also needs to cooperate with albums to provide fruitful and diversify content. Last but not least, it has to unify the business model of the digital music platform. Meanwhile, it needs to provide the streaming and downloading at the same time. Overall, the KKBOX and iTunes develop in this way and bring the huge revenues eventually.

碩士
淡江大學
大眾傳播學系碩士班
102
In the past, people use CD walkman or download MP3 from computers intend to listen to music. In recent years, smartphones and 3G technologies began to prevail over the world, everyone started to use streaming music that could download and play music. Among those streaming music, iTunes that is under of Apple company and KKbox that is developed from Taiwan have promoted their own music downloading and streaming services, and because of their conveniency, low price and legality strategy, it is easy to replace the music listening model of CD or MP3. Therefore, the market of music industry has develop gradually the digital path of their own, and mobile device would still be the main stream of the future age, but will consumers truly accept the digitalize of music and are they willing to change their habit of listening to music? This research selected KKbox that is early founded in Taiwan and iTunes that is under the Apple enterprise to study their own music streaming and music downloading as cases. And these cases could help this research to explore the perceived quality and the perceived value that influence the satisfaction and the buying intention of users. This research would investigate and study the consumers if conveniency, legality and satisfaction, habit, price of KKbox and iTunes would positively increase their will to purchase the two softwares. The survey will be designed through four directions, including the aspects of perceived quality, perceived value, satisfaction of value and will of purchasing. The survey is trying to figure out the cognition of consumers about the two softwares, afterwards, the author carry out interviews with higher-ups of the two companies, in order to understand how to increase the satisfaction and desire to purchase digital music between the viewpoints of consumers and sellers. The research discovered that users would accept and use the merchandise because of its conveniency, but the most of them would just want to pay lower than the recent amount of digital music market. Therefore, in order to increase the satisfaction and desire of consumers, the suggestions are: 1.Remake the price. 2. Provide personal services. 3. Mobile device is the main stream of the market. 4. Enlarge the demand of people on music. 5. Increase the quantity of binding devices. Also, beside the distributor should provide better service quality, the most important is the record companies should produce much more ideal quality of products. Consequently, it would attract more consumers’ attention, and combining the well quality of digital music platform, the satisfaction and the buying intention of digital music market would certainly increase.

Tese de doutoramento em Letras, na área de História, na especialidade de Didática da História, apresentada ao Departamento de História, Estudos Europeus, Arqueologia e Artes da Faculdade de Letras da Universidade de Coimbra
Este trabalho de investigação incide sobre o impacte da utilização de tablets no ensino da História no 3º Ciclo do Ensino Básico e no Ensino Secundário. Partimos da análise sobre a evolução das correntes pedagógicas portuguesas dos últimos 30 anos, do papel da História nos curricula de diferentes sistemas de ensino (ao nível do 3º CEB e do Ensino Secundário) e da especificidade do seu ensino. Em seguida, fazemos o estado da arte em relação a investigações e projetos sobre a utilização de tecnologias no ensino e, em particular, sobre a utilização de dispositivos móveis para ensinar e para aprender. As tecnologias móveis são cada vez mais parte do quotidiano de qualquer jovem estudante e permitem formas crescentemente sofisticadas de acesso à informação e interação social. As potencialidades destes dispositivos contribuem para que sejam considerados ferramentas incontornáveis no desenvolvimento de estratégias de aprendizagem motivadoras e na aquisição de competências por parte de alunos que são hoje considerados verdadeiros "nativos digitais". Por outro lado, o curriculum do ensino básico e secundário exige aos alunos a capacidade de compreensão e análise de temáticas históricas por vezes complexas, face às competências cognitivas que lhe estão associadas. É, por isso, importante criar mecanismos que ajudem os alunos a saber utilizar a informação a que conseguem hoje aceder, sobretudo ensinando-os a selecionar e filtrar essa mesma informação. Foi tendo por base estas questões e tendo subjacente as abordagens construtivistas e conectivistas que preparámos um estudo onde tablets (iPads) e uma plataforma de suporte ao ensino (iPads e iTunes U) foram utilizados como eixo de um ecossistema de aprendizagem para o desenvolvimento de competências nas aulas de História, procurando desenvolver uma estratégia que proporcionasse uma aprendizagem de qualidade, que passasse pela fase de domínio dos conteúdos a lecionar, utilização desses mesmos conteúdos na concretização de pequenas tarefas e a apropriação dos conteúdos para utilização em novas situações. Do ponto de vista da metodologia de investigação realizou-se um estudo de caso, no qual participaram alunos de duas escolas urbanas com ensino básico e secundário, uma pública e outra privada. Destes alunos, quarenta e sete frequentavam o nono ano de escolaridade e vinte e dois o décimo segundo ano de escolaridade (Curso Científico-Humanístico de Humanidades). A importância deste estudo prende-se com a ausência, em Portugal, de estudos sobre a utilização de tablets para o desenvolvimento de estratégias de ensino e de aprendizagem nas aulas de História, procurando capitalizar as vantagens destes dispositivos numa disciplina complexa como é o caso da História. As técnicas de recolha de dados utilizadas foram o inquérito e as notas de campo. Os instrumentos de recolha de dados concebidos para este estudo foram: o questionário inicial de caracterização dos participantes, o questionário de opinião onde se inquiriu a reação dos alunos aos recursos educativos e às tarefas solicitadas e os testes de conhecimentos. Da análise dos testes, dos questionários e através da observação que fizemos podemos concluir que a plataforma iTunes U permitiu organizar o processo de aprendizagem, promovendo a autonomia dos alunos e o iPad permitiu anotar os documentos e criar trabalhos interativos com a aplicação Book Creator. Ao longo da aplicação do estudo, constatou-se que a estratégia utilizada contribuiu para que as aulas de História tivessem outro tipo de dinamismo e de interatividade, encorajou a aprendizagem pela construção do saber e o desenvolvimento de competências ao nível da análise da documentação apresentada, para além de aumentar a motivação dos alunos para a aprendizagem da História. Os participantes reconheceram que se sentiram mais motivados para as aulas de História e que ter ao dispor ferramentas como o iPad facilitam o processo de aprendizagem e contribuem para o desenvolvimento de competências relevantes, sobretudo ao nível do trabalho colaborativo e da síntese dos conteúdos lecionados. A criação de uma história baseada nos acontecimentos estudados, revelou-se, para os participantes, para além de uma tarefa divertida, uma boa forma de aprender.
This study focuses on the impact of the use of tablets in the teaching of history in the Secondary Education System. To do this, we start from the analysis of the evolution of Portuguese pedagogical trends of the last 30 years, the role of history in the curricula of different educational systems (Secondary Education System) and the specificity of their teaching. Then we analyse the state of the art regarding research and projects on the use of technology in education and, in particular, on the use of mobile devices to teach and to learn. Mobile technologies are increasingly becoming part of everyday life for any young student and are allowing increasingly sophisticated forms of access to information and social interaction. The potential of these devices make them compelling tools in the development of strategies for motivating the learning processes and the acquisition of skills by students who are now considered true digital natives. Moreover, the curriculum of elementary and secondary education requires students the ability to understand and analyse historical themes, often considered complex given the cognitive skills associated to it. It is, therefore, important to create mechanisms that help students learn to use the information that they can access today and especially to teach them how to select and filter this same information. It was based on both these issues and on constructivist and connectivist approaches that we conducted a study where tablets (iPads) and a platform to support teaching (iTunes U) were used as the axis of an ecosystem for learning in History classes. In doing so we pursued a strategy that would provide quality learning, by leading students through the mastering of content, the use of that content to achieve small tasks and ownership of content to use in new situations. The investigation methodology was the case study in which the students who participated attended two urban schools with primary and secondary education, one public and one private. Of these students, forty-seven attended the ninth grade and twenty-two the twelfth grade (Area of Human ans Social Sciences). The importance of this study lies in the absence in Portugal of studies on the use of tablets for the development of teaching strategies and the learning of History, seeking to capitalise the advantages of these devices in the learning of a complex subject as is the case of History. The techniques of data collection that were used were the survey and field notes. The data collection instruments designed for this study were: an initial questionnaire about the participants, an opinion questionnaire where the reaction of students to educational resources and to the requested tasks was inquired and knowledge tests. From the analysis of the tests and questionnaires and the observation that we conducted we can conclude that the iTunes U platform allowed the organization of the learning process, promoting student autonomy and that the iPad allowed to annotate documents and create interactive works with the app Book Creator. Throughout the implementation of the study, it was found that this strategy provided another kind of dynamism and interactivity in History lessons, encouraged constructivist learning and the development of documentation analysis skills, in addition to increasing students' motivation to learn History. Participants acknowledged that they felt more motivated in History classes and that having tools like the iPad facilitate the learning process and contribute to the development of relevant skills, especially related to collaborative work and synthesis. Also, creating a story based on the events studied was considered by the participants a good and fun way to learn.
Fundação para a Ciência e Tecnologia

碩士
國立屏東科技大學
資訊管理系所
103
In 2003, US Apple released the first legal online digital music platform iTunes, and online digital music platform has become a new music channel, bringing hope for sluggish music record industry; online digital music industry continues growth with time and global online digital music revenue increased by 6.9% in 2014, meanwhile, it was the first time that it has the same earnings ratio with that of physical record. Currently, online digital music industry has been mature and how to stand out, further stay ahead in the highly competitive online music platform environment, and understand factors affecting of users has become the most important issue. In this study, we referred to all related literatures and included satisfaction factors into perceived value modes as a research framework to explore any correlation between perception sacrifice, perception quality, perception value, satisfaction and consumers selectivity of online digital music platform. In this study, iTunes, KKBOX, YouTube users were served as the subject in this study. Since online digital music platform is mainly used through the Internet, so we adopted Internet questionnaire survey, where a total of 297 valid questionnaires were collected. The survey results used SPSS software and SmartPLS software for relevant statistical analysis, and its statistical analysis result showed that: (1) A user's "perception sacrifice" has significant impact on his "perception value”, which is partially established. (2) A user's "perception quality" has significant impact on his "perception value", which is fully established. (3) A user’s "perception value" has significant impact on his “satisfaction”, which is fully established. (4) A user's "perception sacrifice" has significant impact on "selectivity", which is partially established. (5) A user's "perception quality" has significant impact on "selectivity", which is partially established. (6) A user's "perception value" has significant impact on "Selectivity", which is partially established. (7) A user’s "satisfaction" has significant impact on "Selectivity", which is partially established.

碩士
國立中央大學
資訊管理學系在職專班
101
The last decade was the time when music downloading software was developed at the fastest rate. Technology advancement has changed the management model of digital music platforms. Given that the most important asset possessed by digital music platforms is digital content that is mostly controlled by music companies, the success of managing digital music platforms lies in close cooperation between platform operators and music companies. Due to the prevalence of digital music, innovative services that integrate downloading software with on-line music platforms have led to successful breakthrough from stagnated music sales and to the change of value chain in music industries. The close ties between music companies and platform operators have enhanced the competiveness of the overall digital music industries. This research reviews relevant literature and analyzes the management model, creation of potential e-business value, and key success factors. KKBOX and Apple iTunes Music Store, the two most representative digital music platforms at home and abroad, are taken as the case study. The two companies’ differences in management model and process of creating potential e-business value are examined. From the perspective of value chain, Resource-Based View, Schumpeter Innovation Theory, Transaction Cost Theory, and Strategic Network Theory, this research investigates the two companies’ competition strategies and makes a conclusion on key success factors. The results indicate that the two case companies both strive for alliance with music companies to enrich digital music platforms with a variety of content. By trying different resource integration techniques to provide clients with excellent user experience, the two companies fix mistakes and build a successful business model. The key factors for successful digital music platforms are categorized into Digital Content, Management Model, Brand Value, User Experience, and Excellent Services. The two case companies both actively move toward these areas in hope to make a breakthrough and benefit the companies. This research also discovers that innovative strategies are needed in managing digital music platforms. Business opportunities can be created through localized strategies that satisfy the local needs, maintenance of existing strengths, and expansion of overseas market presence and cross-industry cooperation.

Dissertação de mestrado em Difusão de Conteúdos Digitais Educativos, apresentada à Faculdade de Letras da Universidade de Coimbra
Esta dissertação de mestrado abrange a temática enunciada pelo mestrado em Informação, Comunicação e Novos Media. O presente trabalho versa o projecto denominado “Saber para Todos”, que se propôs disponibilizar, a um público alargado, conteúdos de divulgação científica em todas as áreas do saber, recorrendo a um dos novos meios de difusão, o iTunes University. É analisada a estrutura da UC e as diferentes formas digitais de difusão de conteúdo, incluindo os repositórios institucionais, as plataformas de e-learning, e a nova plataforma iTunes. São analisadas, para efeito de comparação, outras plataformas semelhantes como o Youtube.edu, Ecademic Aarth e televisões web, sempre com o objectivo de dar uma panorâmica dos meios digitais usados para difundir conhecimento a um público alargado. A plataforma iTunes é analisada com mais detalhe na estrutura e funcionalidade e em particular o modo como a UC a abordou, os principais passos que foram do processo e resultados obtidos.
This thesis covers the themes set out by the master in Information, Communication and New Media. This paper addresses the project called "Knowledge for Everybody", which wanted to make available, to a wide audience, scientific contents in all areas of knowledge, using one of the new means of dissemination, iTunes University. It analyzes Coimbra University‟s structure and the different forms of digital content broadcast, including institutional repositories, e-learning platforms, and the new iTunes platform. It also considers, for comparison purposes, other similar platforms such as Youtube.edu, Academic Earth and web TVs, always with the aim of giving an overview of the digital media used to disseminate knowledge to a wide audience. The iTunes platform is analyzed in more detail in its structure and functionality. It is also showed the way UC approached the main steps that have guided the process and enabled results.

The research explored the way in which usability taxonomy can inform download popularity of socially focused wellness smartphone applications, in particular weight loss and diet apps. The aim was to investigate the Australian smartphone stores (iTunes and Google Play) in order to examine the efficacy of most popular wellness apps. Reviewing the literature revealed that the rates of overweight and obesity have been increasing in Australia in the last two decades (ABS 2013; and National Health and Medical Research Council 2014). One of the most important strategies to manage this issue is self-monitoring. Some of the traditional widely used self-monitoring techniques include food diaries and regular self-weighing (Yeager et al. 2014). Nowadays, wellness smartphone applications play a significant role in monitoring and managing individuals’ weights (Connelly 2006). According to Choi and Stvilia (2014), although smartphone applications markets (iTunes, and Google Play) list thousands of health smartphone applications, it is not always clear whether those applications are supported in credible sources. Likewise, Azar et al. (2013) points out that despite the prevailing use of smartphone apps to aid with weight management, the usability features of these applications are not well characterised. Thus, this field needs ongoing research to give users reliable information on the efficacy of the most popular apps for managing weight. Furthermore, given the fast development of technologies and applications, such studies are always valuable. The methodology for this research utilised a subjective ontology, interpretive epistemology supported a qualitative method. The design of this research included three main stages: stage one - Identifying Apps; stage two - Development of Weight Loss and Diet Evaluation Framework; and stage three - Application of The Evaluation Framework. Each stage included specific tools and techniques: the first stage involved a selective review of the Australian iTunes and Google Play apps based on specific inclusion criteria; in the second stage, a content analysis assisted in utilising the existing theories of evaluation frameworks to develop the suitable weight loss and diet smartphone apps evaluation framework; and the third stage included practical application of the evaluation framework on the identified apps. The data of this study was analysed by a qualitative content analysis, which was applied to the data of stage two - Development of Weight Loss and Diet Evaluation Framework. Descriptive statistics were utilised to analyse the data resulted from stage three- Application of the Evaluation Framework. Deductive thematic analysis was also used to analyse the apps users reviews. This research has resulted in one main outcome, which was the development of a justified weight loss and diet smartphone apps evaluation framework. In addition, it has resulted in three key findings: • KF 1: Applying the evaluation framework to the identified apps has shown that the most downloaded iTunes and Google Play apps are not necessarily the most usable and effective apps. • KF 2: The search algorithms for the iTunes and Google Play is biased towards apps title keywords that do not accurately define the real functionality of the app. • KF 3: Analysing the apps user reviews has supported the identified evaluation elements of the developed evaluation framework. In addition, it has shown that Ease of Use, Reminder, Bar Code Scanning, Motivation, Usable for All, and Synchronisation are significant attributes that should be included in weight loss and diet smartphone apps and thus in the potential weight loss and diet evaluation frameworks. The research has contributed at the substantive level as it allowed showing the outcomes of evaluating the most popular weight loss and diet apps. At the methodological level, it combined different methodologies that formed an innovative method. At the theoretical level, it has identified the two main styles available in the literature to evaluate wellness smartphone apps and it has identified a literature based weight loss and diet evaluation elements. This research has suggested several future research possibilities. Upcoming use of the evaluation framework would benefit from more than one single application. It suggested that the framework should be applied by more than one evaluator/iteration. The research has focused merely on evaluating iTunes’ and Google Play’s most popular apps. However, there is an opportunity for research to evaluate the most popular and unpopular apps to compare their results.